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Ipitman's XTejtile 3^nMisti'ie5 Series. 



Edited by ROBERTS BEAUMONT, M.Sc, M.I.Mech.E. 



DRESS, BLOUSE, 
AND COSTUME CLOTHS 



DRESS, BLOUSE, AND 
COSTUME CLOTHS 

DESIGN AND FABRIC MANUFACTURE 



BY 

ROBERTS BEAUMONT 

M.Sc, M'.i.MECH.E. 

Profennor of Textile Industries, Leeds University, 1889-1913 ; Clothworkers' 

Inspector in Textile Technology, 1892-1916 ; lioyal Society of Arts Medallist ; 

Examiners' Medallist, City and Guilds of London Institute ; Vice-President of the 

International Jury on Textile Machinery, Paris Exhibition, 1900. 

Author of " Woollen and Worsted," " Colour in Woven Design," " Union Textile 

Fabrication," " Standard Cloths," " Finishing of Textile Fabrics," " Woven 

Fabrics at the World's Fair, Chicago," " Appret des Tissus " ; " Fabrication des 

Lainages," etc. 



AND 

WALTER GEORGE HILL 

Honours Silver Medallist in Textile Technology, City and Guilds of London Institute 
DBESS GOODS MANUFACTUKEE 



WITH OVER 700 ILLUSTRATIONS, IN MONOCHROME AND 
IN COLOUR, OF YARNS, WOVEN SPECIMENS, AND DESIGNS 



{ALL BIGHTS RESERVED) 



LONDON 
SIR ISAAC PITMAN & SONS, LTD. 
PARKER STREET, KINGSWAY, W.C.2 

BATH, MELBOURNE, TORONTO, NEW YORK 
1921 



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Printed by 

Sir Isaac Pitman & Sons, Ltd. 

Bath, England 



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PREFACE 

The design and manufacture of Dress, Blouse and Costume 
Cloths comprise phases of textile technology obtaining 
in the different sections of the spinning and weavmg 
industries. Dress goods are, for instance, made of materials 
and yarns which constitute the staple woven products of the 
silk, artificial silk, cotton, hnen, worsted and woollen trades, 
but adapted in weaving practice to the construction of hght 
varieties of fabric. Such goods form, as a result of these 
conditions, a unique and distinct description of textile manu- 
facture, one which imposes on the producer a knowledge of 
the technology of each of these trades, in addition to a know- 
ledge of fabric design, tinting, and finishing applicable to dress, 
costume, and blouse cloths. 

In view of these sahent features of the subject it has been 
sought in this work to interpret (1) the commercial and indus- 
trial aspects of the trade ; (2) the nature, structure and the 
quaUties of the yarns employed ; (3) the weaving principles 
involved ; (4) the design and colour schemes elaborated ; and 
(5) the systems of fabric build and manufacture practised. 

As far as possible a complete dissection of these problems 
has been attempted. Technical and working data are supphed 
bearing on the manufacture of (a) each standard class of dress 
fabric in cotton — plain, twill, and specialized in weave type, 
e.g. voiles, zephyrs, crepes, flannelettes and sateens ; in silk — 
cords, repps, satins, crepe de Chine, brocades, velvets, etc. ; 
in woollen and worsted costume fabrics — ordinary in weave 
and finish and distinctive in surface features, as in curl, ripple 
and waved cloths ; in lustres — such as Sicilians, brilliantines, 
pophns and plain and figured textures ; in hnen, canvas and 
soft finished goods : and (6) relative to the manufacture of 
the many varieties of " fancy " and mixed-yarn fabrics, 
simple or special in weave structure, piece-dyed or coloured 
in the loom, and elementary in pattern style or decorative 
in design composition. 

Considering briefly the arrangement and scope of the book. 



vi PREFACE 

there is given in Chapter I an analysis of the industrial range 
and trading interests, inclusive of information on the factors 
which make for manufacturing efficiency and commercial 
stabihty. The influence of fashion and of changes in textural 
pattern and style, and also of the effects on production of 
standardized factory routine are explained, with reference 
to the phenomena entering into and determining the trend of 
the home and shipping trades. 

The value of the Yarn Unit — the materials of which it is 
composed and the methods of its manufacture — in fabric 
construction and design is explained and illustrated in Chapter 
II. Silk, in one form or another, is so extensively applied 
in the making of dress goods that it is treated of in a separate 
chapter, with an exposition of the manufacture of " thrown," 
" spun " and " artificial " silk threads. 

In treating of Weave Elements, the systems of warp and 
weft setting are taken fully into account, and also the various 
weave structures and the types of intersection plans derived 
from the same. Drafted patterns of a striped, checked, and 
all-over arrangement are systematically examined, followed 
by the consideration of designs built on " weave," rectangular, 
lozenge, rhomboidal, transposed, circular and geometric bases. 
Spotted and mosaic styles are, in the first place, treated of in 
relation to a selected number of photographic studies, including 
an interesting series of Japanese examples. The point-paper 
production of " Spottings " in different makes of hght textures, 
in cotton, worsted, hnen, silk and mixture yarns, and as formed 
by warp, weft, and extra warp and weft threads, is dealt with 
in Chapter VIII. Practice in figure designing is introduced by 
studies in decorative ornament as exemphfied in Sicihan, 
Florentine, oriental and modern fabrics. These are followed 
by the elucidation of the technique and the structural 
varieties of figured effects as developed in warp or weft, and 
in cloths special in build or compound in type. 

The subjects of the different classes of pile fabric — velveteens, 
corduroys, velvets, astrachans, lambslrins and figured velvets 
are analysed in Chapter X, as also the principles of gauze 
and lappet weaving and designing in different kinds of 
textures. 



PREFACE vii 

Throughout the work the utiUty and function of colour in 
the several classes of dress fabrics are illustrated and defuied. 
Finisliing methods and treatment are also specified in relation 
to certain makes of cloth, more particularly when they are 
responsible for the quahty and style of the fabric originated. 

Technical and scientific research, as it should be increasingly 
encouraged in the different departments of the industry, is 
suggested and elucidated, but for research, as it is competent 
of resulting in the production of new and economic grades of 
dress fabrics, reference should be made to Union Textile 
Fabrication. 

The subject is fully illustrated by original designs and speci- 
mens, and the authors desire, in this connection, to express 
their indebtedness to the pubUshers for the manner in which 
these have been prepared and pubhshed. 

They also appreciate the courtesy of Messrs. J. and T. 
Brocklehurst & Sons, Ltd., Macclesfield ; Messrs. Courtaulds, 
Ltd., Coventry ; Messrs. Reuben Gaunt & Sons, Ltd., Farsley ; 
Messrs. McLennan, Blair & Co., Glasgow ; Messrs. W. H. 
Potter & Co., Bradford ; and of Messrs. Sir Titus Salt, Bart., 
Sons & Co., Ltd., Saltaire, in supplying samples of worsted, 
mohair, alpaca, camelhair, silk, artificial silk, cotton, and 
other yarns ; and that of Messrs. Greenwood & Batley, Ltd., 
Leeds, in providing illustrations of silk preparing and spinning 
macliinery. Further, they wish to acknowledge the sug- 
gestive technical paper on Artificial Silk of the late ]\Ir. 
Leonard Wilson, F.I.C., embodied in Chapter III ; and the 
help of Mr. Arthur Snowden, Textile Interests, Ltd., Brad- 
ford, in the preparation of tabulated data on yams and fabrics. 

R. B. AND W. G. H. 

Headingley, Leeds. 
July, 1921. 



CONTENTS 

CHAPTER I PAGE 



INDUSTRIAL AND COMMERCIAL ASPECTS 

1. Complex Industrial Formation — 2. Textural Basis and Manufacturing 
and Design Schemes — 3. Weave Schemes : Ordinary GrouiDs of Fabrics — 
4. Colour Practice and the Fancy Trade — 5. Elaborated Strii^ings and 
Checkings — 6. Distinctive Phases of Colour Technique — 7. Materials and 
Textural Applications — 8. Silk Satins — 9. AcquiringSuitabiUty of Fabric 
Structure — 10. Double and Compound Cloths in Dress Goods — 11. Multi- 
ply Weft Figuring — 12. Art and Technique — 13. French Sillis — 14. Loom 
Mounting and Figui-ed Velvet Production — 15. Doupe and Cross Weaving 
Examples — 16. Lappet and Woven Lace Principles of Pattern Origina- 
tion — 17. Waved Surface Cloths — 18. Interlaced Surface Effects — 19. 
The Yarn Unit and Manufacturing Technology — 20. Frise, Ripple, and 
Cm-1 Manufactiu-os — 21. Printing and Embossing — 22. Embroidery as an 
Accessory to Loomwork — 23. Tinctorial and Colourization Practices- — 
24. Natural-coloured and Piece-dyed Goods — 25. Pattern Development 
in Cloths of Admixed-yarn Typos— 26. Factors Controlling Commercial 
Stability : Home Trade — 27. Fashion— 28. National Purchasing Power 
and Factory Production — 29. Influence of Economic Evolutions — 30. 
ConsoHdation of the Home Trade — 31. "Style" Transitions — 32. Stand- 
ardization in the Dress Industry — 33. Sliipping or Foreign Trade : Divi- 
sible into Two Sections — 34. Prestige of French Fashions and the Goods 
in Demand — 35. Phenomena Affecting Trade in the Near and Far Eastern 
Countries — 36. Board of Trade Intelligence and Foreign Trading — 37. 
Provisions Relative to Trade Intelligence and Dress-fabric Manufacture — 
38. British Industrial Centres. 



CHAPTER II 



THE YARN UNIT 



1 



46 



39. Yarn a Controlling Factor in Fabric Design — 40. Yarn Featui-es 
Relative to Textural Utility — 41. Cotton Yarns and Cloth Qualities — 
42. Linen Yarns and Textural Features — 43. The Silk Yarn Unit — 44. 
Yarns made of Animal Fibre — 45. Worsted and Woollen Groups of Yarn 
— 46. Wool Fibre and Thread Formation — 47. Yarn Specimens Cora- 
pared— 48. English and French Worsted Yarns — 49. Value of Filament 
Length — 50. Staple Measurement and Yarn Structures and Density — 
51. Lustre Quality in Cashmere, Alpaca, Mohair, and Camelhair — 52. 
Yarn Differentiations — 53. Circumferential Area of Yarns — 54. Woollen 
Yarn Structure — 55. Metallic Threads — 56. IModern Practice and Threads 
made of Mineral Substances — 57. The Twine Factor in Spun Yarns — 
58. Folded Yarns and Twine Insertion — 59. Compound Yarns and the 
Dress Trade — 60. Types of Folded Yarns — 61. Basic Principles in 
Folded-yarn Construction : Fancy Twists — 62. Folded and Multi-ply 
Twist Threads — 63. Fancy Yarns in Dress and Costume Textures. 

CHAPTER III 

SILK : THROWN, SPUN, AND ARTIFICIAL . . . .81 

64. Thread-like Structure of the Silk Filament — 65. Superior Qualities 
of the Fibre, contrasted with Cotton — 66. Silk and Linen Textures Com- 
pared — 67. Silky Lustre — 68. Early Origin of Silk : Historic Data — 
69. Organization of the Silk Industry — 70. Technical Terras Applied to 



CONTENTS 

PAGE 

Silk Textures— 71. Watered Moire Silks— 72. Sources of Silk and Silk 
Waste Supplies — 73. Seri-eulture — 74. Filameiat Fineness — 75. Classifi- 
cation of Cocoons — -76. Silk Reeling — 77. Winding, Doubling, and Throw- 
ing — 78. "Waste" Silk — 79. Varieties of "Net" and "Waste" Silk 
Yarns — 80. Different Qualities of Silk Waste — 81. Gum Discharging : 
" Boiling-off " — 82. " Schappe " or "Steeping Practice" — -83. Routine 
of Spun Thread Production — 84. Softening and Conditioning — 85. Fill- 
ing Operation — 86. Dressing and Combing — 87. Short Fibre and Noil — • 
88. Spreading and Lap Making — 89. Drawing Operations — 90. Roving — • 
91. Spinning — 92. Gassing, Cleaning, and Lustreing — 93. Silk Yarn 
Specimens — 94. The Nature of Artificial Silk — 95. Early History and 
Present Production — 96. The Basis Material — 97. The Chardonnet Pro- 
cess — 98. The Cuprammonium Process — 99. The Viscose Process — 100. 
The Acetate Process — 101. Quahties — 102. Distinctive Tests — -103. Rela- 
tive Properties, Tenacity, etc. — 104. Relative Textile Values — 105. The 
Treatment of Artificial Silk — 106. Dveing — 107. Sizing, Soft Finishes, 
etc. — 108. Storage and Effect of Moisture, etc. — 109. Winding — 110. 
Spooling — 111. Twisting — 112. Warping — -113. Weaving — 114. Artificial 
Silk in Woven Fabrics — 115. Fibre — 116. Defects in Fabrics — 117. The 
Trend of Development. 



CHAPTER IV 

THE YARN UNIT APPLIED . . . . . .139 

118. Scheme of Yarn Manufacture and Fabric Character — 119. Yarn 
Type and Textural Effects — 120. Silk Threads Relative to Fabric 
Features — 121. Fineness of Silk Yarns and Weave Definition — 122. 
Development of Detail in Woven Silks — 123. Linen Yarns and Weave 
Definition — 124. Application of Smooth and Fibrous Yarns — 125. Clear- 
ness of Pattern obtained in "Foody" Yarns — 126. Frame and Self- 
Actor Spun Yarns — 127. Value and Utility of the Yarn Unit in Fabric 
Construction — 128. Yarn Diameter and Fabric Types — 129. Basic Prin- 
ciples of Loom Setting — 1 30. Elements in Practical Setting — -1 3 1 . Thread 
Counts and Fabric Substances — 132. Textural Weight per Yard — ^133. 
Technical Practice and Yarn Counts — 134. Variations in " Warp " and 
"Weft" Settings — 135. Coloured Effects and Yarn Diameters — 136. 
Pattern Contrasts — 137. Comparison of Standard Cotton Yarns. 



CHAPTER V 

WEAVE ELEMENTS AND CLOTH CONSTRUCTION . . 178 

138. Fabric Build — 139. Weave Diversification and Loom Mechanism — • 
140. Weave Classification — 141. Uses of the Plain Weave — 142. Loom 
Setting and Cloth Variation — 143. Systems of Weave Extension — 144. 
Prunelle and Warp and Weft Face Twills — 145. Cassimere and Twills 
of a Similar Formation — 146. Two-and-two Twill Derivatives — 147. 
Four-end Serge Twills— 148. Balanced Twill Effects — 149. Range of 
Twill Derivatives — 150. Points in the Construction of Derivative Weave 
Plans— 151. Elongated Twills— 152. Crepe Effects— 153. Warp Cords 
and Cord Twills — 154. Compound Twills and Diagonals — 155. Checkings 
or Dice Patterns— 156. Waved Effects — 157. Diamond, Diaper, and 
Lozenge Structures — 158. Transposed Types — 159. Mock Lenos — 160. 
Honeycomb Plans — 161. Huckabacks and Weaves giving a Rough Sur- 
face — 162. Sateens— 163. Twilled Mats — 164. Point Paper Plans — 165. 
Weave "Gamut" and Shaft Mountings^l66. Six, Seven, and Eight- 
shaft Weaves — 167. Weaves on Nine, Ten, and Eleven Shafts — 168. 
Weaves on Twelve, Thirteen, and Fourteen Shafts — 169. Weaves on 
Fifteen and Sixteen Shafts. 



CONTENTS xi 

CHAPTER VI 

PAGE 
DRAFTED PATTERNS : STRIPES ..... 247 

170. Anglod-twill Stripes— 171. Designs on a Small Number of Shedding 
Units — 172. Effects on Two Shafts— 173. Checked Patterns on Two 
Heddlos — 174. Designing on Three Sliafts — 175. Kepp Patterns — 176. 
Twilled-rep]) and JIat Stripes — 177. Matted Stripes — 178. Multi-form 
Character of Derivative-weave Stripes — 1 79. The Combination of Weaves 
of Different Interlacing Principles — 180. Fundamental Features in Form- 
ing Weave Stripes — 181. Fine Line Pattern Typos — 182. Stripes in Twills 
of Different Angles — 183. Uses of the Plain ^lake in Striped Designs — 
184. Mock Leno Stripings — -185. Zephyrs and Lustres — 186. Warp and 
Weft Pattern Effects — 187. Fancy and Special Weave Stripings — 188. 
Inverted Weave Structures — 189. Striped Figured Design — 190. Lace 
Stripings. 

CHAPTER VII 

GEOMETRIC DESIGN BASES — WEAVE COMPOUNDS . . 305 

191. Weave Units as Design Formulae — 192. Design Bases — 193. Rect- 
angular or Checked Base — 194. Elaborating ISIinute Checked Intersection 
Units — 195. Damask and Diaper Cheeking — 196. Converting Twilled 
Weaves into Diamond and Waved-checked Types — ^197. Waved and 
Diamond Checks with a Plain Ground — 198. Various Checked Forms 
with a Plain Ground — 199. Developing a Constant Checked Type — 200. 
Cord and Repp Weave Checking — 201. Star Checks — 202. Choice of 
Patterns in Multi-weave Compounds^203. Development of Diamond 
Outlines in Checking — 204. Weaves Applicable in Modifying Diamond 
Outlines — 205. Special Weave Structures and Checked Stylos — 206. Open 
Weave Structures and Chocked Compounds — 207. Rhomboidal Base — 
208. Rhomboidal and Transposition Bases — 209. Transposed Base in a 
Single and Compound Build of Fabric — 210. Interlacing Figuring — 211. 
Diamond Structure of Pattern — ^212. Lozenge-shaped Tj'ises — 213. Com- 
pound Geometric Types — 214. Combination of Transposed and Checked 
Pattern Bases — 215. Circular and Geometric Forms — 216. Design 
Construction on Weave Bases. 



CHAPTER VIII 

SPOTTED AND MOSAIC PATTERNS ..... 370 

217. Ornamentative Details — 218. Structural Principles : Straight-line 
Spottings — 219. Variation in Line Proportions — 220. Circular Spotting — • 
221. Spotted Ground with Plain or Decorative Figuring — 222. Point- 
paper Production of Spotted Designs — 223. Figuring in Spotted Minutiae 
— 224. Weaving Principles in Producing Spotted Patterns — 225. Warp, 
Weft, and W^arp -and- Weft Principles — 226. Lustre and Silk Weft Spotted 
Designing — 227. Weft Spotting-diversified Weave Grounds — 228. Utility 
of Cross-colouring — 229. Mosaic Patterns in Two or more Weave Units — ■ 
230. Warp-twill Ground adapted to Weft-twill Spotting — 231. Ribbed 
Ground and Warp and Weft Detail — 232. Spotting in both Warp and 
Weft Intersections — 233. Warp and Weft Spotting on Balanced Weave 
Grounds^234. Spotting of Warp and Weft Surfaces. 235. — Mosaic 
Patterns : Curvilinear Variety — 236. Curvihnear Forms Spotted — 237. 
Curved Forms planned on Geometric Principles — 238. " All-over " Design 
Schemes — 239. Waved " All-over" Designs — 240. Scroll-surface Decora- 
tion — 241. "All-over" Patterns Spotted — 242. Extra Warp Effects — 
243. Grouping of Spotting Threads — 244. Figuring in Two or Three 
Extra Yarns — 245. Extra Weft Spotting — 246. Weft Grounds and Extra- 
yarn Spotting — 247. Warp and Weft Orders of Colouring Applied to 



xii CONTENTS 

PAGE 
Decorative Pattern Construction — 248. Compound Weave Spotting and 
Figuring — 249. "All-over" Patterns Developed in Double Weaves — 
250. Figured Pattern Origination by the Use of Double Weaves and 
Orders of Warp and Weft Colouring — 251. Spotting in the Backing 
Threads and Picks of Double Weaves. 



CHAPTER IX 

PRACTICE IN FIGURE DESIGNING . . . . .441 

252. Principles of Ornament — 253. Sicilian, Florentine, and Genoese 
Specimens — ^254. Oriental Designing Craft : Chinese and Japanese — 
255. Indian Loomwork — 256. Design Skeleton or Structural Base — 
257. Textural Dimensions of Antique Decorative Patterns — 258. Material 
and Texture — -259. Setting and Pattern Scale — 260. Transference of 
Sketch on to Point Paper — 261r Structural Types of Figured Patterns — ■ 
262. Weft Figuring on a Common Weave Ground — 263. Sateen Pattern 
Production — 264. Pattern Diversification in Sateen Figuring — 265. Fine 
Sateen Structures — 266. Sateen Weave Figuring in Combination with 
Other Weave Principles of Design — 267. Form Definition in Extra Yarn 
Figuring — 268. Figuring by Colour Insertion in the Shuttling — 269. 
Double-weave Figuring — 270. Reversible Figured Goods — -271. Com- 
pound Figured Structures — 272. Matelasse Principle — 273. Shad- 
ing Practice in Figuring — -274. Scale of Intersections — 275. Looming 
Structure : Shaded Designs. 



CHAPTER X 

PILE, LAPPET, AND GAUZE STRUCTURES . . . 507 

276. The Characteristics of Pile Manufactures — 277. Two Systems of 
Pile Looming and Weaving — 278. Velveteens — 279. Ribbed Velveteens — 
280. Weft Plushes and Curls— 281. Semi-curl Effects — 282. Spotting in 
Weft Plushes — 283. Curl Spotting : Lambskins — 284. Warp-pile Prin- 
ciple : Velvet and Terry — 285. Weave Plans for Warp-pile Goods — 286. 
Astrachana : Warp Principle — 287. Warp Tensioning in Pile Weaving — 
288. Varieties of Figured-pile Fabrics — 289. Printed Pile-warp Figuring 
— 290. Terry Figuring — 291. Terry Pile Figuring on a Crepon Surface — ■ 
292. Velvet or Cut Pile Figuring on Twilled Grounds — 293. Lappet 
Weaving — 294. Swivel and Lappet Effects — 295. Lappet Effects in Light 
Textures— 296. Work of the Lappet Frames — 297. Two- and Single- 
frame Patterns — 298. Gimped and Waved Designs — 299. Gauze Prin- 
ciples of Intertexture — -300. Cross-thread Features : Healding Methods 
— 301. Right and Left Whip-thread Drafting — 302. Cellular Cloths^ 
303. Light Fabrics : Perforated in Structure — 304. Muslin Striping with 
Gauze Lacing Threads — 305. Sateen and Gauze Striping — 306. Checked 
Gauzes — 307. Extra-weft Spotted Gauze Textures — 308. Warp Figuring 
in Gauze Patterns — 309. Harness Designs in Gauze Fabrics. 

INDEX .... ..... 573 



ILLUSTRATIONS 

CHAPTER I 

INDUSTRIAL AND COIMMERCIAL ASPECTS 

FIG. PAGE 

1. Shaded Check in Worsted Yarns ..... 5 

2. Figured Tweed 10 

3. Silk Satin 11 

4. Cotton and Silk Compound Fabric — Interchangmg 

Structure ........ 12 

5. Two-ply Weft Figured Texture 13 

6. French Brocade, Modern Style J«se< — Coloured Plate facing 14 

7. French Brocade ........ 15 

8. Velvet and Terry Pile Pattern on a Satin Groiuid . 17 

9. Gauze Specimen ........ 19 

10. Mxilti-Yarn Crossing in Gauze Texture ... 20 

11. Lappet Fabric ........ 21 

12. Sley with Shaped Dents 22 

13. Raised Knopped Yarn Costume Cloth .... 23 

14. Gimped-Weft Veil Texture 24 

15. Soft or Fibrous-fuiished Specimen . . . . .25 

16. " Ripple " Cloth 25 

17. Curl-surfaced Texture 26 

18. Printed Type of Design 27 

19. Embroidered Voile 29 

20. Bi-fibred Dressing-gown Pattern ..... 31 

21. Cotton and Silk Pattern (Piece-tinted) .... 33 

CHAPTER II 

THE YARN UNIT 

22. Yarns composed of Animal Fibre — Actual Size . 54, 55 
23 A & B. Diagrams illvistrative of Fibre Relation and Density 

in the Preparation of Short and Long-stapled Material 58 

24. Combed Top 61 

25. Condensed WooUen SUver 62 

26. XV Century Florentine Fabric with Gold Thread 

Interlacings ........ 65 

27. Cotton Yarn and Metallic Thread Cloth ... 66 
27a. Silk and MetaUic Thi-ead Structure .... 66 

28. Folded Yarn Specimens — Actual Size . . Facing 70 

29. Cotton Style with Thick Folded Warp Ends . . .74 

30. 30a. Fancy Twist Yarns .... Facing 74 



XIV 



ILLUSTRATIONS 



FIG. 

31. 
32. 

33. 
34. 



Plain Silk Textiire, Lined in the Weft with. Ginaped Yarn 

Checked Cotton Blouse with Effects in Knopped Twist 

Threads and Picks ....... 

Cross-bred Worsted Costume with Cvirled Yarn Details 
Tweed Costume Cloth in Carded Knop Yarns . 



PAGE 

79 

79 
80 
80 



CHAPTER III 

SILK THROWN, SPUN, AND ARTIFICIAL 

35. Plat Dressing Frame, with Self-acting Stripping Drum . 96 
35a. Sectional Drawing of Dressing Frame .... 98 

36. Intersecting Screw Gill Spreader . . . . . 102 
36a. Section of Screw Gill Spreader ..... 103 

37. Open, or Single Screw Gill Drawing Frame . . . 104 

38. Double Roving Frame ....... 106 

39. Ring Spinning Frame ....... 107 

40. Cleaning and Gassing Frame . . . . .109 

41. Section Drawing of Gassing Frame . . . .110 

42. Specimens of Thrown Silk . . . . . .113 

42a. Specimens of Sj)im Silk . . . . . .114 

42b. Specimens of Artificial Silk . . . Inset facing 114 

42 c. Cotton and Artificial Weft Gauze Texture . . .115 

43. Reeling from Cakes of Thread Spun in a Topham Centrifugal 

Bos 120 

44. Cross-Section of Nitro-Silk 125 

44a. Cross-Section of Cuprammonium ..... 125 

44b. Cross-Section of Acetate SUk ..... 126 

44c. Cross-Section of Viscose Silk ..... 126 

44d. Cross-Section of Viscose Silk . . . . .127 

44b. Cross-Section of Viscose Silk ..... 127 

45. Cross-Section of Dyed Viscose Silk . . . .136 

46. Photo-micrograph, showing Variation in Nitro-Silk Weft 

X 30, Producing Light and Dark Bands in Dyed Fabric 136 
46a. Photo-micrograph, showing effect produced by Thread, 

the Filaments of which are stuck together . . .137 



CHAPTER IV 

THE YARN UNIT APPLIED 

47. Silk Specimen Illustrative of Weave Structure . . 141 
47a. Section or Weave Plans used in the Construction of Fig. 47 143 

48. Microscopic Section of Fig. 47 .... . 144 

49. Microscopic Section of Fig. 47 . . . . .145 

50. Microscopic Section of Fig. 47 .... . 146 

51. Microscopic Section of Fig. 47 .... . 147 

52. Striped Silk— Diagonal Make 148 



ILLUSTRATIONS 



XV 



Fia. 

52a. 

53. 

54. 

55. 

56. 

57. 

58a. 

58b. 

59. 



'! 



Types of Linen Fabrics 



Design for Fig. 52 
6-and-6 Mat or Hopsack 
Ribbed Stripe 
Fancy Twill 

Striped Costume — French-spxm Yarn 
Striped Costume — English-sptm Yarn 
Line-striped Pattern, Clear Finish. 
Line-striped Pattern, Soft Finish . 

Photo-micrographs of Frame and Self-actor Spvm Yarns 

Inset facing 

60. Sketch of Plain Fabric 

61. Sketch of Pnmelle Twill Fabric . 

62. Sketch of Cassimere Twill Fabric . 

63. Sketch of 8-shaft Sateen Fabric . 
64a to G. Striped and Checked Silk Specimens 
65a & B. Cotton Checks .... 
66a to c. Linen Checks .... 
67a to D. Woollen Checkings 
68a & B. Worsted-striped Pattern and 

Pattern ..... 
69, 69a to F. Specimens of Cotton Yarns 



PAGE 

149 
150 
150 
150 
151 
151 
152 
152 

152 
. 161 
. 162 
. 163 
. 164 
. 166 
168, 169 
. 170 
. 171 



Compound-checking 

172,173 
Inset facing 176 



CHAPTER V 

WEAVE ELEJIENTS AND CLOTH CONSTRUCTION 

70. Plain Makes and Derivatives thereof . . . .185 

71. Prmielle Twill and Derivatives thereof . . . .187 

72. Cassimere Twill and Derivatives thereof . .187 

73. T- and g-- Twills and Derivatives thereof . . . 188 

74. 5- and g- Twills and Derivatives thereof . . . 189 

75. 3-, J- and 5- Twills and Derivatives thereof . . . 190 

76. s-t 5--> ?-j 5- Twills and Derivatives thereof . . 194 

77. 5-, ij-i- and ^--i- Twills and Derivatives thereof . . 195 

78. J-, 3-2--, Tj-T-T- and 5-2- Twills and Derivatives thereof 196 

79. Elongated Twills 200,201 

80. Crepe TmUs 202 

81. Photo -micrographic Section of Mat Cloth . . . 203 

82. Photo-micrographic Section of Cord and Twill Stripe . 204 

83. Lustre Stripe, Plain and Cord Weaves .... 205 

83a. Design for Fig. 83 205 

84a to J. Cords, Cord Stripes and T\vills, and Corduroy Plans 207 
84a 1 & 84b 1. Sectional Sketches of Plans A and B, Fig. 84 . 208 
84d 1. Plain Cord and Warp Repp Pattern . . . .208 

85. Diagonal Textiu-e 209 

85a. Sectional Plan of Fig. 85 210 

86. Diagonal composed of Irregular Mat and r- Twill , 211 



XVI 



ILLUSTRATIONS 



FIG. 

87. 



90. 

91. 

92. 

93. 

94. 

95. 

96. 

97. 

98. 

99. 
100. 
101. 
102. 
103. 
104. 
105. 
106. 
107. 
108. 
109. 
110. 
111. 
112. 



PAGE 

Diagonal Diversified in Weave and in Line Composition 211 
Diagonal composed of Diamoiid Crossings . . .213 

Diagonal composed of Graduated Warp and Weft Twills . 213 
Shaded Diagonal composed of Derivatives of 5-end Sateen 213 
Check and Dice Plans . . . . . . .214 



Waved, Zig-zag or Serpentine Plans 
Waved Pattern (Linen) 
Diamond and Lozenge Effects 
Examples on the Transposed Weave Basis 
Imitation or Mock Ganze Weaves 
Honeycomb Types 
Huckaback Types 
Sateens 

Sateen Check Textiire . 
Twilled Mats or Hopsacks 
Exanaples in 6-shaft Weaves A to r 
Examples in 7-shaft Weaves A to G 
Examples in 8-shaft Weaves A to r 
Examples in 9-shaft Weaves A to G 
Examples in 10 -shaft Weaves A to N 
Examples in 11 -shaft Weaves A to H 
Examples in 12 -shaft Weaves A to p 
Examples in 13 -shaft Weaves A to E 
Examples in 14-shaft Weaves A to E 
Examples in 15-shaft Weaves A to B 
Examples in 16-shaft Weaves A to J 



215,216 

. 217 

218,219 

. 220 

. 223 

. 225 

. 226 

. 227 

. 228 

. 231 

. 233 

. 234 

. 235 

. 236 

. 237 

. 238 

. 240 

. 241 

. 242 

. 243 

. 245 



CHAPTER VI 

DRAFTED PATTERNS STRIPES 

113. Drafted Specimens — Tweed Costumes .... 249 
113AitoDi. Healding Drafts on 4 Shafts . . . .250 

114. Drafted Specimens b to J — ^Worsted Costumes . 252, 253 
114e Ho j 1. Healding Drafts on 6 Shafts . . . .254 

115. Striped Style on 2 Shafts 257 

116. Oblong Check— Mat Compound— on 2 Shafts . . 257 

117. Mat, and Warp and Weft Cord Check, on 2 Shafts . 257 

118. Plain, Mat, and Cord Check, on 2 Shafts . . .257 

119. Plain, Irregular Cord, and 5-end Mat Check, on 2 Shafts . 257 

120. Plain, Warp and Weft Rib, and 5-end Mat Check on 2 Shafts 257 

121. Waved and Diamond Striping on 3 Shafts . . .260 

122. 5- Twill, Cutting in Three's — and Mat Stripe on 3 Shafts 260 

123. Irregular Warp Cord and Birdseye Spotted Stripe on 3 Shafts 260 

124. Waved ^-^^ Twill, and ^J- Rib Stripe on 3 Shafts . . .260 

125. 6-end Mat, Cord and Fancy Weave Stripe on 3 Shafts . 260 

126. Angled Stripe in Upright Twills on 3 Shafts , , ,260 



ILLUSTRAT'IONS xvii 

PIG. PAGE 

127. Upright Twill, Twilled Mat and Step T^dll Stripe on 3 

Shafts 260 

128. Woven Specimens, Regvdar and Irregular Warp and Weft 

Repps 262 

129. Woven Specimen, Striped in Repp and Fine Twill . . 263 

130. Woven Specimen, Striped in Modified Twill and Mat . 264 

131. Elongated Mat Stripe on 4 Shafts 267 

132. Step Corkscrew, Cord Twill and i-+- Twill Stripe on 8 

Shafts 267 

133. Double Corkscrew, and Waved Weave Twill Stripe on 9 

Shafts 267 

134. J" Twill, Extended Corkscrew, Step Twill, and Inter- 

rupted Twill Stripe on 9 Shafts 267 

135. Striped Design composed of 13-shaft Twill, and Upright 

Twill pointed on 13 Shafts 270 

136. ^-'- TwiU and 12-shaft Irregular Mat Stripe . . .270 

137. Stripe composed of Reversed 4-end Makes, a Fast 8-shaft 

Weave and a 14-shaft Open Weave .... 270 

138. 2-^- Twill and Drafted Mayo Stripe 270 

139. Line Stripe on 6 Shafts 274 

140. Line Stripe, in 4-end Weaves on 8 Shafts .... 274 

141. Spotted Line Stripe on 8 Shafts 274 

142. Twilled Stripe, in Prvmelle and in Prunelle Two Picks in a 

Shed on 6 Shafts 276 

143. Twills of Different Angles in Striped Arrangement, on 9 

Shafts 276 

144. Fine Upright Twill and Small Diagonal Stripe . . 276 

145. 13-shaft Inverted Weave Stripe 277 

145a. Elongated Corkscrew and 13-shaft Twill Stripe . . 277 

146. 8-shaft TwiU and 16-shaft Diagonal Striping . . 277 

147. o- TwiU and Buckskin Pattern 278 

148. 5-- TwiU, Buckskui, Warp Cord and Fancy Mat Combination 279 

149. Stripe composed of o ' T\vUl and Venetian Angled Twill 279 

150. Stripe composed of 8-shaft Fancy TwiUed Mat, Buckskin 

and Upright 4-end TwiU 279 

151. Woven Specimen — Spotted and Dented Stripe — ^with 

Plain Weave Ground and Artificial SUk Weft . .282 

152. Mock Leno, Plain and Mat Stripe ..... 283 

153. Stripe of Plain and Weft Decorative Weaves, Zephyr or 

Lustre Style 285 

154. Stripe of Plain and Warp and Weft Decorative Weaves, 

Zephyr or SUk Style 285 

155. Stripe of Plain and Warp and Weft Decorative Weaves, 

Zephyr or SUk Style 286 

156. Stripe of Plain and Warp and Weft Decorative Weaves, 

Zephyr or Silk Style 287 

B— (5264) 



XVlll 



ILLUSTEA'PiONS 



FIG. _ PAGE 

157. Stripe of Plain and Warp-Decorative Plaii with Weft- 

Decorative Plan . . . . . . .287 

158. Stripe consisting of Plain and of a Warp-Decorative Plan 

with a Weft-Decorative Plan 289 

159. Stripe consisting of Plain and of a Warp-Decorative Plan 

with a Weft-Decorative Plan ..... 290 

160. Stripe consisting of Plain and of Warp and Weft Spotted 

Plans 291 

161. Fancy Weave Design — Key-type — ^forming a Striped 

Pattern 292 

162. Fancy Weave Design Striping, Zig-zag Diagonal Pattern 293 

163. Fancy Weave Design composed of Four Weave Units . 294 

164. Inverted Striped Weave Design, Sateen Structure . . 295 

165. Inverted Striped Weave Design, Transposed Structure . 295 

166. Figured Stripe with Plain Ground on 24 Shafts . . 297 

167. Pine Figured Stripe, Plain Ground on 24 Shafts . . 297 

168. Compound Figxired Stripe ...... 298 

169. Lace Structiire 299 

169a. Woven Specimen for Fig. 169 300 

170. Compound Lace Striping ...... 301 

170a. Sketch of Woven effect of Fig. 170 ... . 302 

171. Crescent, Star, Spotted and Lace Compound . . . 303 



CHAPTER VII 

GEOMETRIC DESIGN BASES — ^WEAVE COMPOUNDS 

172. Line Checking in Prxmelle Twill 

173. Line Checking in 8-shaft Warp and Weft Twills 

174. Line Checking in ^- Twill 

175. Line Checking in 6 -end Ground Crossing and Cord and 

Plain Weaves ..... 
175a. Matted Cord Check .... 

176. Duplicated Line Checking . . . 

177. Cut Checking in 5- Twill and Elongated Mats 
178a, b and c. Checked Bases 
178d. Sateen Check ..... 

179. Drafted Diaper Checking 

180. Check composed of Diamond, Waved and Twill Effects on 

8 Shafts 

181. Check composed of Diamond, Waved and Twill Effects on 

4 Shafts 

182. Fancy Blouse Checking Inset — Coloured Plate facing 

183. Mat and Plain Check Base . 

184. Inverted Cord and Plain Check Base 

185. Inverted Cord and Plain Check Base 

186. Inverted Cord and Plain Check Base 



308 
308 
308 

308 
308 
309 
310 
311 
312 
314 

315 

315 
316 
317 
317 
317 
317 



ILLUSTRATIONS xix 

FIG. PAGE 

187. Transposed or Coiinter-change Checking . . .317 

188. Transposed or Counter-change Checking and Dice Effects 317 

189. Checking in Rectangular Forms in Various Sizes, and in 

12, 4 and 2-shaft Weaves 317 

190. Checking in Eectangular Forms in Various Sizes and in 

8-shaft Weaves 319 

191. Checking in Rectangular Forms in Variovis Sizes in 

Three 5-shaft Weaves 319 

192. Repp or Cord Checking 321 

193. Repp, Waved Cord, and Fancy Weave Checking . . 322 

194. Cord and Inverted Cord Checking 323 

195. Star Checking . 324 

196. Star Checked Base 325 

197. Star Checked Base 326 

198. Diagonal Dice Checked Pattern 327 

199. Compovmd Weaves forming Special Effects with Checking 

Lines in Warp and Weft Cords 328 

200. Open-Weave Checking 329 

200a. Woven Specimen for Fig. 200 332 

201. Rhomboidal Base 334 

202. Elongated Rhomboidal Base 335 

203. Sketch of Modified Rhomboidal Pattern . . .336 
203a. Sectional Plan for Fig. 203 337 

204. Extended Rhomboidal Principle of Design . . . 338 

205. Transposed Figured Base composed of Single and Double 

Weave Units 339 

206a, b & c. Sketches of Intersecting Pattern Types . . 340 

207. Design on Intersecting Base ...... 341 

208. Intersecting Diagonal Base ...... 342 

209. Intersecting Spotted Base ...... 344 

210. Intersecting Geometric Base — Example in Weave Contrasts 345 

211. Diamond Base in Mat Weaves ..... 347 

212. Diamond Base in Plain, Mock Leno, and Diaper Weaves . 348 

213. Diamond Base, Figured in the Weft, Plain Ground . . 349 

214. Woven Specimen for Fig. 213 350 

215. Diamond and Lozenge Intersecting Pattern, Warp Twill 

Ground, Weft Figuring 351 

216. Duplicated Diamond Structure ..... 353 

217. Lozenge Base composed of 6-end Weaves. . , . 354 

218. Lozenge Base, Elaborated Sateen Groiind, Shaded Spotting 357 

219. Simple Geometric Figui'ing in Three 4-shaft Weaves . 358 

220. Compound Geometric Cord- Weave Figuring on Warp 

Twill Groimd 359 

221. Inverted Geometric Style 360 

222. Rectangular and Transposed Base in Shaded Twills . 363 

223. Drop and Rectangular Base combined .... 364 



XX 



ILLUSTRATIONS 



FIG. 

224. Design on Weave Base 

224a & B. Basic Plans for Design in Fig. 224 

225. Design on Weave Base 

225c. Basic Plan for Design in Fig. 225 . 

226. Design on 16-shaffc Weave Base 
226d. Basic Plan for Design in Fig. 226 . 



PAGE 

365 
366 
367 
367 
368 
368 



CHAPTER VIII 

SPOTTED AND MOSAIC PATTERN STRUCTURES 

227-244A, B & c. Examples in Spotted and Mosaic Patterns 

245. 

246. 

247. 

248. 

249. 

250. 

251. 

252. 

252a. 

253. 



Weft Spotting on a Warp Ground ..... 

Warp Spotting on a Weft Ground ..... 

Warp and Weft Spotting on a Neutral Weave Ground 

Warp and Weft Spotting on a 5- Twill Ground 

Spotted Zephyr or Lustre ...... 

Spotting on a Circular Base ...... 

Star Spottings — Sateen-arranged — Fancy Weave Ground 
Weft Spotting — Lozenge Base ..... 

Woven Specimen for Fig. 252 ..... 

Spotting on Lozenge Base in Weft PruneUe on a Warp 
Prunelle Ground ....... 

254. Spotted Figuring in special Weave Structures, arranged 

on a Drop Base on a Warp -Twill Grovmd 

255. Spotting in Weft and Warp Cord Weaves — Diamond Base 

256. Line Spotting . . . . . ■ . 

257. Mosaic Pattern Features — Plain Ground 

258. Irregular-shaped Spottings on a Crepe Weave Ground 

259. Reversed Warp and Weft Effects in Pattern Formation 

260. Warp and Weft Cord Ground Structure — Spotted in Sateen 

Weaves ....... 

261. Mosaic Style in Circular Types .... 

262. Mosaic Style in Curved Lines — Weft Development . 

263. Style in Curved Lines — ^Warp and Weft Development 

264. " All-over " Drafted Pattern .... 

265. Draftable Curvilinear Design Type 

266. Waved or Ribbon Form of Pattern — Sateen Weave 

Construction ....... 

267. Transposed Figuring on Blotched Ground in Sateen and 

Plain 

268. Extra Warp — Single-Thread Spotting . 
269a & B. Single-Thread Spotted Basis .... 

270. Extra Warp " Blotched " Design . . 
270a. Structviral Section of Fig. 269 .... 

271. Extra Weft Yarn Spotting 

37lA. Woven Specimen for Fig. 271 , , . , 



372-382 
. 385 



386 
386 
386 
388 
390 
390 
391 
392 

394 

395 
396 
399 
401 
402 
403 

403 
406 
407 
408 
410 
411 

414 

415 
416 
419 
422 
422 
424 
425 



ILLUSTRATIONS 



XXI 



Fia. 
272. 
273. 
274. 
275. 
276. 
277. 



Mosaic Type, witti Extra Yarn Effects . . . 

6-end Sateen Base Spotting, with Extra Warp-Yarn Effects 

Double-plain Structures . . " . 

" All-over " Pattern Type in Double Weaves 

Reversible Make of Spotted Pattern .... 

Double Weave Spotted with the Backing Ends and Picks 



PAGE 

427 
428 
433 
435 
436 
439 



CHAPTER IX 

PRACTICE IN FIGURE DESIGNING 

278. SicUian Decorative Figured Specimen — 12th to 13th 

Century ......... 443 

279. Genoese Decorative Specimen — ^Pile Figuring . 444 

280. ItaUan Renaissance Decorative Specimen . . . 445 

281. Japanese Decorative Specimen ..... 448 

282. Design constructed on a Geometric " Skeleton " , .451 

283. Fohage and Flower Pattern — Conventionalized Treatment 452 

284. Foliage and Flower Pattern — ^Natiu^alistic Treatment . 453 

285. Silk Figured Specimen — Ground developed in Warp Repp, 

and Figuring in Fine Warp Repp and Floated Weft Yarn 458 

286. Silk Specimen — Sateen Ground with Figuring in Warp 

Repp, Floated Weft, and Shading in TwiUed Mat. 

Inset — Coloured Plate facing 458 

287. Design Sketch prepared for Transference on to Point 

Paper ......... 460 

287a. Section of Looming Design for Fig. 287 .... 461 

288. Design Sketch for Drafted Harness .... 462 
288a & B. Sectional Plans for Fig. 288 . . . . 463, 464 

289. Weft-Yarn Figuring on Plain Ground . . . 467 

290. Leaf Pattern for Weft-Yarn Development . . . 468 
290a. Section of Looming Design for Fig. 290 .... 469 

291. Waved Form of Pattern with Trellis Gromidwork . . 470 
291a. Section of Looming Design for Fig. 291 .... 470 

292. Silk Satin— Weft Figured 471 

293. Sateen and Twilled Figm-ing 475 

294. Figuring by Colour Insertion . ... 477 

295. Woven Specimen — ^Pine Pattern ..... 478 
295a. Looming Section for Fig. 295 479 

296. Pine Pattern with Decorative Ground .... 481 
296a & B. Looming Section for Fig. 296 .... 481 

297. Double-Plain Figured Pattern 483 

298. Reversible Figured Type — ^Worsted and Mohan* Yarns . 484 
298a. Looming Section for Fig. 298 485 

299. Reversible Figured Type — SUk and Cotton Yarns . . 486 
299A. Sectional Plan for Fig. 299 487 

300. Figured Silk— Fine-Set Texture . . . . 489 



XXll 



ILLUSTRATIONS 



riQ, PAGE 

300a to D. Sectional Plans for Fig. 300 490 

301. Figured Silk Developed in Compound Weave Units — 

Fine-Set 491 

30lAtoE. Sectional Plans for Fig. 301 493 

302. Warp Matelasse 494 

302a. Sectional Plan for Fig. 302 495 

303. Warp Matelass(^ — Ground Effect .... 496 
303a. Looming Design for Matelass6 Effect .... 496 
304 & 304a. Matelass6 Types 497, 498 

305. Section of Fine-Set Matelass^ Design .... 500 

306. Silk Specimen shaded in Diamond Weaves. 

Inset — Coloured Plate facing 502 

307. Elementary Type of Shaded Pattern . . . .503 

808. Section of Shaded Floral Design 504 

308a. Section of Butterfly Pattern 505 



CHAPTER X 

PILE, LAPPET AND GAUZE STRUCTURES 

309a to F. Velveteen Plans 510 

310. Specimen of " Uncut " and " Cut " Velvet Cord . 511 
31lA to F. Corded Velvet Plans— Weft Structvire . . .512 
312a, b & c. Specimens of " Fustian," " Genoa " and Thickset 

Cords 514 

313a, b & c. Plans for Weft-Phish or Curl Fabrics . . . 515 

314. Semi-Curl- Pattern 518 

315. Weft-Plush— Two -Colour Effect . ... 519 
315a. Plan for Specimen 315 519 

316. Weave Type— Ctirl Spotted and Lambskin Cloths . . 520 
316a. Healding Draft for Fig. 316 520 

317. Plan for Curl Spotted Effect 521 

317a. Healding Draft for Fig. 317 521 

318a & B. Warp-Plush Plans 523 

319a, b & c. Astraklian Weaves . . . . . .525 

320. Printed Warp Velvet . 528 

321. Figured Terry Pile— Worsted Ground . . . .530 
322a & B. Sectional Sketches 531 

323. Specimen — Terry Figured Crepon Groimd. 

Inset — Coloured Plate facing 532 

323a. Sectional Design 533 

324. Velvet Pile Figuring on Checked Twill Grotmd. 

Inset — Coloured Plate facing 534 

324a. Sectional Plan 535 

325a & B. Photo -micrograph of Swivel Fabric . . 538, 539 

326. Two-Frame Lappet Specimen ..... 540 

326a. Design for Fig. 326 541 



ILLUSTRATIONS 



XXIU 



FIG. 

327. 

328. 
329. 

330. 

331. 

332. 

333. 

333a. 

334. 

334a. 

335. 

336. 

337. 

338. 

338a. 

339. 

339a. 

340. 

340a. 

341. 

341a. 

342. 

342a. 

342b. 

843. 

343a 

344, 

344a 

344b 

345. 

6. 

182. 
286. 



PAGE 

Single -Frame Lappet Design ..... 543 

Two-Frame Inverted Lappet Plan .... 544 
Two -Frame Lappet Pattern in Two Colours. 

Inset — Coloured Plate facing 544 

Lappet Specimen Spotted ...... 545 

Sectional Plan for Fig. 330 546 

Lappet Stripe with Imitation Gauze Lacing . . . 547 

Diagrara of Plain Gauze ...... 550 

Heald-Shaft Movmting for Fig. 333 .... 551 

Healding Draft and Plan — Cellular Fabric . . . 552 

Cellular Texture ........ 553 

Diagram of Plain Gauze — Cellular Make . . . 554 

Check with Intersected Sections Edged with Gauze Ends . 556 
Muslin Gauze with Inserted Figured Striping. 

Inset — Coloured Plate facing 556 

Gauze composed of Circular and Convoluted Forms . 557 

Healding Draft and Plan for Fig. 338 . . . . 557 



306. 

323. 

324. 

329. 
337. 



Net Striped Specimen .... 
Sketch of Thread Interlacings for Fig. 339 
Plain, Dented and Gauze Effects — Specimen 
Healding Draft and Plan for Fig. 340 
Satin and Gauze Stripe 
Healding Draft and Plan for Fig. 341 . 
Gauze Checking . . . . • 

Healding Draft for Fig. 342b 
Design on Fig. 342 .... 
Extra Weft Spotting — Gauze Fabric 
& B. Healding Draft and Plan for Fig. 343 
Warp Figm-ed Gauze Stripe . 

Sketch of Thread Interlacing of Gauze Stripe in Fig. 
Sectional Plan for Fig. 344 . 
Design for Gauze Harness Movmting. 

COLOURED PLATES 
French Brocade — Modern Style . 
Fancy Blouse Checkings-Drafted Style 
Figured Silk — Groxuid Developed in Warp 

Sateen and Figured Featxires in Warp Repp, 

Floated Weft, and in Shaded Twilled Mat 
Silk Specimen — Shading in Diamond-weave 

Structvu'es ...... 

Specimen with Crepon Ground and Terry-pile 

Figuring ...... 

Specimen with Tartan Worsted-yarn Groimd 

and Velvet-pile (Silk) Figuring 
Two-frame and Two-colour Lappet Texture 
Muslin Gauze with Figured-warp Stripe Insertion 



. 558 

. 559 

. 560 

. 560 

. 561 

. 562 

. 563 

. 564 

. 564 

. 565 
566, 567 

. 568 

344 . 569 

. 569 

. 570 



Facing 



14 

316 



458 

502 

532 

534 
544 
556 



xxiv TABLES 

TABLES 

PAGE 

I. Scliemes of Dress Fabric Manufacture ... 2 

II. Textural Varieties — Piece-dyed ..... 30 

III. Yarns Manufactured of Animal Fibre . . .50 

IV. Commercial Yarn Counts — Wool and Hair . . 53 
V. Folded Yarn Construction ..... 70 

VI. Particulars of Dissected Fancy Twist Yarns . . 75 

VII. Varieties of " Net," " Waste," and " Wild " SUks . 93 

VIII. Yarn Counts and Fabric StructTires .... 155 

IX. Group Classes of Elementary Weaves . . . 181 

X. Derivatives of Twilled Weaves . . . . 191 to 193 

XI. Methods of Plan-making Applicable to Spotted Style 

Origination . . . . . . . . 379 

XII. Varieties of Spotting and Mosaic Pattern Designing . 384 

XIII. Methods of Colouring Single -thread Warp-spotted Effects 418 

XIV. Pattern Types Derived from Fundamental Weaves in 

Simple Orders of Warping and Wefting . 430-431 

XV. Interchangeable Double-weave Structures in Figured 

Pattern Development ...... 437 

XVI. Figured Fabrics — Structural Types .... 465 



DRESS, BLOUSE, 
AND COSTUME CLOTHS 



CHAPTER I 

INDUSTRIAL AND COMMERCIAL ASPECTS 

1. — Complex Industrial Formation. 2. — Textural Basis and Manu- 
factm*ing and Design Schemes. 3. — Weave Schemes — Ordinary Groups 
of Fabrics. 4. — Coloiu" Practice and the Fancy Trade. 5. — Elaborated 
Stripings and Checkings. 6. — Distinctive Phases of Colour Technique. 
7. — Materials and Textural Applications. 8. — Silk Satins. 9. — 
Acqiui'ing Suitability of Fabric Structure. 10.— Double and Compoimd 
Cloths in Dress Goods. 11. — Multi-ply Weft Figuring. 12. — Art and 
Technique. 13. — French Silks. 14. — Loom Mounting and Figured- 
Velvet Production. 15. — Doupe and Cross Weaving Examples. 
16. — Lappet and Woven Lace Principles of Pattern Origination. 17. — 
Waved Surface Cloths. 18.— Interlaced Surface Effects. 19.— The 
Yarn Unit and Manufacturing Teclmology. 20. — Fris^, Ripple and 
Ciu>l Manufactures. 21. — Printing and Embossing. 22. — Embroidery 
as an Accessory to Loomwork. 23. — Tinctorial and Coloiirization 
Practices. 24. — Natural- Coloiured and Piece-dyed Goods. 25. — 
Pattern development in Cloths of Admixed-Yarn Types. 26. — 
Factors Controlling Commercial Stability — Home Trade. 27. — ■ 
Fashion. 28. — National Piirchasing Power and Factory Production. 
29. — Influence of Economic Evolutions. 30. — Consolidation of the 
Home Trade. 31. — " Style " Transitions. 32. — Standardization in 
the Dress Industry. 33. — Shipping or Foreign Trade — Divisible into 
Two Sections. 34. Prestige of French Fasliions and the Goods in 
Demand. 35. — Phenomena Affecting Trade in the Near and Far 
Eastern Coimtries. 36. — Board of Trade Intelligence and Foreign 
Trading. 37. — Provisions relative to Trade IntelUgence and Dress- 
fabric Maniifacture. 38. — British Industrial Centres. 

1. Complex Industrial Formation. — Industrially and com- 
mercially, the dress trade presents distinctive features for 
analysis and study. It combines, in a fuller and more inti- 
mate relation than other branches of the textile industry, 
the varied technicahties of the cotton, Hnen, silk, worsted 

1 

1— (5264) 



2 DRESS, BLOUSE, AND COSTUME CLOTHS 

and woollen schemes of fabrication. In the latter, yarn and 
cloth construction are specific in character, and defined and 
restricted by the staple material employed. For example, 
in the worsted trade the yarn range is of a combed-wool 
formation, supplemented, in certain makes of cloth, by 
yarns of a carded-wool structure ; in woollen manufacture, 
the yarns are chiefly carded, condensed, and selfactor spun, 
and consist of wool fibre or of wool substitutes ; in Hnen 
production — all grades and sorts of texture from the fine 
cambric to the close-set and heavy damask— the warp and 
weft yarns are prepared from flax, or, in union Knens, from 
flax and cotton ; and, in the silk trade, the yarns are produced 
in pure or raw silk, " waste " silk, and artificial silk, with, 
however, different groups of fabrics composed of silk and 
cotton, silk and fiax, etc. 

The intermixture of yarn structures, in such industrial 
divisions and practices, is more or less standardized, though 
strictly determined by the essential quahties of the pre- 
dominant material in the commercial goods. On the other 
hand, in the dress-fabric industry, the yarn ingredients may 
be as diversified in filament composition, and in routine of 
preparation, as in all the several forms of manufacture referred 
to. 

2. Textural Basis and Manufacturing Schemes. — This techno- 
logical factor provides a broad textural basis, one capable of 
indefinite development and elaboration. Thus such yarns — 
single, folded, or multi-ply, and plain or varied in tinting and 
in surface features — are adapted to, and employed in, the 
making of blouse, dress, costume, and figured cloths by the 
following well-defined systems of fabric building and 
origination — 

TABLE I 

Schemes op Dress-fabric Manufacture 
I. — Weave Scheme, as in elementary principles of intertexture, and 
comprising (a) cloths in the natural colour of the raw material and 
{b ) cloths in dyed shades. 



INDUSTRIAL AND COMMERCIAL ASPECTS 3 

II, — Compound Weave Scheme, as in the combinations of weave 
units in striped, checked, and geometrical patterns, and produced in 
cloths (a) and (6). 

III. — Colour Scheme, as in coloured fancies (a) in ordinary weave 
plans, and (6) in special and compoxmd weave elements, and woven 
in stripes and checks of different line groupings and line demarcations. 

IV. — Figured Scheme, as in figured patterns coloured in the loom 
or dyed in the piece. 

V. — Decorative Schema, as in silk brocades, damasks, and velvets ; 
also in decorative styles in many descriptions of union manufactures. 

VI. — Looming Scheme, applied in the construction of leno, gauze, 
lappet, lace, net, and pile-woven effects in the fabric, inclusive of design 
elements in which ordinary schemes of intcrtextiu-e are combined with 
one or more of these princijjles of loomwork. 

VII. — Surface Differentiation Scheme, developed in the formation 
of textures possessing a cm-led, looped, waved, cut-pile or otherwise 
modified surface, and producible (o) by the yarns selected, (6) the 
weaving practice, and (r) by the finishing treatment in association 
with the routine of manufacture. 

VIII. — Prinled and Embossed Scheme, as in cloths in which the warp, 
weft, or both sorts of yarn, are coloiu* printed for giving eilher a 
blotched, spangled or regular form of pattern ; and in dotiis with a 
soft, fibrous, but plain siuface, on which A pattern is acquired by a 
process of embossing. 

IX. — Embroidered and Wot'cn Scheme, obtaining in the origination 
of fancy and figiu-ed goods in which assorted details of the style are 
applied to the textm-es after weaving on the embroideiy frame, with 
other details loom constructed. 

X. — Tinctorial and Manufacturing Scheme, as in producing cloths 
consisting of material units differing in tinting value, and in which 
the admixture of the several varieties of fibre is done {«) in yarn 
preparation, (6) in yarn doubling and twisting, and (c) in weaving by 
combining, in the warping and wefting, threads made of different 
classes of material. The goods, Avhile woven in the grey, take, in 
piece-dyeing, niixtm-e tints, tones and shades. 

This synopsis of the commercial and manufacturing phases 
of the industry, affords a general conception and view of the 
technical principles and practices covered, and also of the 
looming and design schemes involved. The yarn factor, that 
is the filament quahty and consistency and surface con- 
formation of the kind of yarn employed, will be dealt with 
in respect to the weaving of standard makes and other 



4 DBESS, BLOUSE, AND COSTUME CLOTHS 

descriptions of blouse and dress fabrics ; and need not, there- 
fore, be dissected and explained in this connection. It is, 
however, expedient that some of the industrial differentiations, 
suggested in the groups of manufactures tabulated, should be 
reviewed. Being illustrative of the dress trade, it is essential 
that the special aspects and apphcations of the several 
schemes should be indicated and understood. 

3. Weave Schemes — Ordinary Groups of Fabrics. — Examining 
them for this purpose and leaving the fuller analysis of each 
scheme for subsequent study, it has to be observed that 
Schemes I and II obtain in the production of ordinary fabrics 
in all sections of the textile industry, but, in the dress trade, 
Scheme I includes such staple textures as — 

(1) Lustres — Sicilians, Orleans, glacis, brilliantines, poplins, serges, 
linings, etc. 

(2) Crepes, cords, repps, gabardines, delaines, etc. 

(3) Crimps, muslins, and light or thin cottons. 

(4) Plain and twilled silks, satins and sateens, and fabrics composed 
of silk or artificial silk and cotton, silk and linen, and silk and worsted 
or woollen. 

(5) Worsted and woollen costume cloths ; also union costume cloths 
in which worsted and woollen yarns are the chief thread ingredients. 

Scheme II is extensively developed in piece-dyed and 
natural-tinted fabrics made of silk, cotton, linen, worsted and 
mixed yarns. It provides for the origination of pattern style 
in weave elements, as in modified plain and twilled weaves, 
mats, cords, sateens, diaper, diamond, lozenge, and other 
effects, as well as designs consisting of two or more principles 
of intertexture, and arranged on a striped, checked, 
rhomboidal or geometric base. While the cloths are not 
standardized in pattern form, inasmuch as they are devised 
and produced for current consumption, they constitute 
important branches of manufacture in lustres, thin cottons, 
silks, linens, worsteds, and unions. 

4, Colour Practice and the Fancy Trade. — Scheme III is 



INDUSTRIAL AND COMMERCIAL ASPECTS 5 

utilized in the construction of the various classes of coloured 
fabrics acquired in each division of " fancy " textile manu- 
facturing ; but it is also representative, in the dress industry, 














■■ 



B 










yyyyyyyyyyX 
vyy/'yy/yy^y* 






\0 



^f ^y.f^.r * y^yy 
^yyyy^yyyyyy 



ryyyyyyyyyyA 
yyyyyyyyyy^ 






Fig. 1. — ^Shaded Check in Wousted Yakxs. 

of certain distinctive systems of looming practice. First, 
the textures require to be of a suitable hghtness and flexibihty. 
Firmness and super-compactness of structure are not, as a 



6 DRESS, BLOUSE, AND COSTUME CLOTHS 

rule, advantageous, but rather softness of surface and supple- 
ness of handle, combined with a serviceable degree of wearing 
durabihty. Second, with the patterns of a striped, spotted, 
and checked order, it is obvious that many of the methods 
of yarn-grouping, adopted in the weaving of woollen and 
worsted suitings, coatings and trouserings, may be employed, 
but with marked variations in colour treatment. Thus the 
styles should be more clearly deUneated though of the same 
structural arrangement, with the colour contrasts and tones 
in keeping with the garment applications of the cloths. In 
addition, the patterns may be broader and more elaborate 
in composition than those observed in the ordinary classes 
of woollen and worsted fabrics. To illustrate these technical- 
ities — the shaded check compound in Tig. 1 is, in construc- 
tion and design elements, a form of pattern effective in either 
worsted dress fabrics or woollen rugs ; or in two descriptions 
of cloth so dissimilar in substance, character, and apphcabihty, 
as to render a different colour scheme imperative in the 
development of the pattern in the respective manufactures. 
For the former brighter and richer tinting is requisite than 
in the latter, but in each harmony of tone is all important, 

5. Elaborated Checkings and Striping s. — An examination of 
the order of warping and wefting for the specimen, which is 
shown on page 7, will enable the technical quahties of the 
colouring of dress goods, as distinguished from those of other 
textiles, to be discriminated and defined. 

Substituting a tint — say lavender — for white, a tone 
(medium blue) for grey, and a shade (navy blue) for black, 
the pattern would consist of a lavender -tinted ground shaded 
with medium blue and overchecked with navy ; or it would 
be woven in analagous colourings. In the dress trade, pure 
colours, such, for illustration, as those distinguishing the 
original tartans, are also combined. Depth and strength of 
colour contrasts, due to the admixture of different coloured 
hues as well as to the admixture of colour tones and tints, are 
more common, and classified in larger areas of effect, than in 



INDUSTRIAL AND COM 31 EEC I AL ASPECTS 



Specimen Fig. 1. Order of Warping and Wefting 

l^'.f^ [32 threads, 
ante ) 



4 threads 
4 
4 



1 tlu'ead 

5 tlu'eads 



thread 

tlu'eads 

thread 

threads 

thread 

tlu'eads 

thread 



1 

4 
1 
3 
1 
2 
1 
1 
1 
8 threads 



thread 



threads 
thread 
threads 
thread 
8 threads 
1 thread 
3 threads 

1 thread 

2 threads 
thread 



threads 
thi'ead 



threads 

thread 

threads 

tlii'ead 

threads 

thread 

5 threads 
1 thread 

6 threads 
1 thread 



of black 

,, whit( 

,, black 

,, white 

„ grey 

,, white 

„ gi-ey 

,, white 

„ grey 

,, white 

„ grey 

,, whit 

„ grey 

,, white 

„ grey 

„ grey 

,, black 

„ grey 

„ bl 



ite I 

y ) 

f 



1 

ack I 

■ey ) 






„ grey 
,, black 
„ grey 
,, black 
„ grey 
,, black 
,, grey 
,, black 
,, grey 
„ black 
>, grey 
,, white 
„ grey 
,, white 
,, grey 
,, white 
,, grey 
,, white 
„ grey 
,, white 
„ grey 
,, white 
„ grey 



14 
12 

10 
8 

G 




8 



6 

6 

G 
• G 

8 
10 
12 
14 



8 DRESS, BLOUSE, AND COSTUME CLOTHS 

other brandies of manufacture in which the goods are designed 
for clothing purposes. Hence, the colouring characteristic 
of the Rothsay (red, green, and white), the Barclay (blue, 
red, and green), the Forth-Second (indigo blue, green, and 
black), and other plaids, might be effectively applied to 
this checking. Thus, adapting the colour assortment in the 
Rothsay tartan, white, as in Fig. 1, is usable in the field of 
the specimen, shading with green and weaving the 4-and-4 
lines in black ; or red in the ground toned with black and 
overchecked with white. In the case of the Barclay, red is 
applicable to the ground, taking the place of the white yarns 
in the warping and wefting, green to the shaded details, 
and white to the overchecking ; and in that of the Forty- 
Second, green in the ground, blue in the shading, and black 
in the overchecked features. Selecting further colour units, 
as hehotrope for white, sage green for grey, and ochre brown 
for black, or light fawn for white, tan for grey, and purplish- 
blue for black, hght-tinted and medium-toned patterns would 
be formed of a colour composition and quaUty chiefly useful 
in dress cloths. 

6. Distinctive Phases of Colour Technique. — It is clear from 
this example in Scheme III that, with the adaptation of a 
style, apphcable to several varieties of woven fabrics, to dress 
designing, colour technology offers distinctive phases of study, 
as in the freshness and richness of the hues employed and in 
the systems of colour grouping developed — bright tinting 
being practised in the ground and in the details of the patterns 
originated. With, however, the subject of colour considered 
relative to the dress trade purely, it will be shown that the 
scope for patternwork is greatly widened as it is affected by 
colour gamut and assortment, by diversification in striping 
and checking, and by range in style composition. In a 
limited degree this is evident in Fig. 1, for whether examined 
as a checked combination or as a striped design — e.g. sections 
A, B, and C — it is typical of the elaborate and ingenious orders 
of warping and shuttling feasible. A more complete analysis 



INDUSTRIAL AND COMMERCIAL ASPECTS 9 

of the textural piincii)les and colour groupings involved 
would emphasize the peculiar value and utihty of colour 
as a primary design ingredient, and as a fundamental element 
in pattern structure, in all classes of " fancy " dress cloth 
manufacture. 

7, Materials and Textural A2yplications. — Considering 
Scheme IV, it has two principal aspects — ^the materials usable 
and the textural applications. One elementary group of 
fabrics here comprised is that in which the warp yarn is cotton 
and crossed with alpaca, mohair, or lustre weft ; and cotton or 
fine Botany worsted wai-p yarns woven with silk or artificial 
silk weft yarns. The styles range from sateen or geometric 
plans of simple figure distribution to styles composed of 
fioral and leaf details of a strictly conventionahzed form and 
method of treatment. The cloths are plain in the ground 
with the design features acquired by floating the weft yarn 
in sateen, in twilled or in other common principles of inter- 
texture. Other types of fabric are more diversified in the 
yarn units, looming practice, and in systems of colouring. 
Four specimens will be examined — Figs. 2, 3, 4, and 5. They 
are suggestive of the woollen, silk, cotton and silk, and of the 
cotton, worsted, and silk methods of manufacture. The 
tweed specimen — Fig. 2 — ^is made of woollen yarns, namely, 
twist threads in the warp and mixture-shade threads in the 
weft. In carded-yam cloths the weaves combined require 
to be of a simple twill, mat, or plain variety. The example 
is y- twill in the ground and 3 ^ t\vill in the wave Unes forming 
the figuring. Piece-dyeing may be practised in such goods, 
when, by using worsted yarns in the warp and shutthng with 
woollen yarns, the degree of differentiation in the quahties 
of the woven surface, due to each kind of yarn, is sufficient 
to accentuate the design structure in the finished fabric, 

8. Silh Satins. — ^In contrast with this comparatively coarse 
grade of figured but thin cloth — 12 to 13 oz. per yard, 54 ins. 
wide — obtained in carded woollen yarns, openly set in the 
reed, the silk satin, in Fig. 3, may be taken as exemphfying the 



10 DRESS, BLOUSE, AND COSTUME CLOTHS 

finer build of figured textures, but also elementary in weave 
formation. Silk designing, in dress, blouse, necktie, and 




Fig. 2. — Figured Tweed Costume Cloth. 

decorative manufactures, is illustrative of the higher branches 
of technique and art as applied to loom work. Here the 
ingenuity and sldll of the technologist are associated in the 
fullest ratio with the imaginative force and executive faculty 



INDUSTRIAL AND COMMERCIAL ASPECTS 11 

of the decorative artist. There is no fibrous material wliich 
offers such freedom and faciUty in the dehneation of woven 
ornament, and in the origination of richness of tinting in the 
tissue, as silk when prepared in the qualitj?' of organzine for 
warp, and in the softer and more diffusive quahty of frame 
for weft. 

9. Acquiring Suitability of Fabric Structure. — As in the general 
practice in dress-fabric Aveaving, it is essential, in silk goods, 
to produce a sound textile structure, and also to develop 




Fig. 3, — Silk Satix Texture. 

distinctly the outhnes and small effects of which the style 
consists. The minutest details need to be smartly delineated, 
or with a corresponding definiteness and accuracy as if painted 
on the woven surface, yet with that beauty of toning rendered 
possible by the intersection of warp and weft threads. 
These technicaUties necessitate close setting in the loom, and 
the selection of weave plans, for the ground and figuring, in 
strong contrast with each other, such as, a warp-face sateen 
for the former and a weft-face sateen for the latter. This 
represents the weave structure of the specimen, Fig. 3, with 
the addition of floating the weft solid in forming the twig and 
stem parts of the design. Textural fineness and durability 



12 DRESS, BLOUSE, AND COSTUME CLOTHS 

are acquired in this and similar makes of fabric, by (1) full 
setting in the loom — in the example 340 threads and 120 picks 
per inch ; (2) by the employment of two wefts — ground and 
figuring ; and (3) by the scheme of fabric construction or by 
the weave units selected. 

10, Double and Compound Cloths in Dress Goods. — That 
double and compound builds of cloth should be apphed in 




:a^*T«^f^ 



^ 



Fig. 4. — Cotton and Silk Compound Fabric Structure. 



the formation of light textures is due to the various systems 
of setting possible in looming, and to the sorts and counts of 
yarn combinable in weaving. An exphcit method of work is 
shown in Fig. 4. This double-plain make of dress goods 
consists of thick, folded cotton and of fine silk yarns, arranged, 
in the warp and weft, 7 threads of silk to 1 thread of cotton. 
Both sets of threads interlace in plain order, but each group of 
yarns yields a separate texture, that in the cotton being open 
and loose, and that in the silk fast and dense, in thread 



INDUSTRIAL AND COMMERCIAL ASPECTS 13 



composition. For the development of the pattern, the silk- 
woven textm-e is brought on to the face in the figuring, and 
the cotton-woven texture on to the face in the ground. This 



;<^jr-v' . "^)p 







^■■. - 

















Fig. 5. — Extra Weft Figured c loiii. 

relation of the two textures obtains throughout the weaving 
of the piece. It follows that the underside of the compound 
cloth is the opposite in effect and in apj)earance to the upper 
side, maldng it " reversible " and actually usable on either 
surface. 

11. MuIti-pJy Weft Figuring. — With the assortment of 
worsted, cotton, and silk yarns, employing cotton in the warp, 



14 DRESS, BLOUSE, AND COSTUME CLOTHS 

the fabrics may be multi-ply in the weft, yet thin and light 
in construction as seen in the example given in Fig. 5. The 
specimen typifies the weft principle of figured cloth construc- 
tion, being produced in three wefts, blue and straw-tinted 
silk, and fight fawn worsted, interlacing with the greenish-grey 
cotton warp yarn. Similar descriptions of texture and design 
are also feasible in the warp principle of figured weaving, in 
which instance several chain beams are used, as for the silk 
and worsted threads respectively. The relative merits of the 
two principles of intertexture will be discussed in their proper 
place. It may, however, be observed that the multi-ply 
shuttling arrangement, as here illustrated, affords certain 
advantages in acquiring fineness, compactness, and quality 
of fabric build. But the leading technicality it is now the 
object to punctuate is the diversity of weaving practice 
exercised in this grade of fabrication, particularly as exhibited 
in the yarn imits, the structure of the cloth, and in the whole 
system of manufacture. 

This specimen, and the specimens in Figs. 2, 3, and 4, suggest 
the field of application of Scheme IV, but by no means represent 
the designing and productive technology in figured dress 
textiles. Still they serve to demonstrate the range of textural 
work impfied in acquiring makes and varieties of cloth of a 
definite commercial value and serviceabifity. 

12, Art and Technique. — Decorative fabrics for court robes 
and like purposes (Scheme V) do not fiterally come within the 
scope of this treatise, but as they result from the selection, 
combination, and practice of the weaving principles utifized 
in the manufacture of the different kinds of dress goods, their 
distinctive characteristics demand some explanation. For 
affording this, reference will be made to the French examples 
in Figs. 6, 7, and 8. The two former are illustrative of silk 
brocades, and the latter of decorative velvets with a satin 
ground. 

Artistic and technical faculty is evident in the style origina- 
tion of these designs as also in the draughtsmanship exercised 




Fig. 6- French Brocade. Modern Style. 



/ 



INDUSTRIAL AND COMMERCIAL ASPECTS 15 

in the planning, drawing and distribution of the figuring, 
and particularly in the conventional treatment of plant form. 
But the real excellence of the decorative composition is 
revealed and emphasized in the textural schemes combined 




Fig. 7. — French Brocade. 

in the origination of the design elements. Other methods, 
for example, of expressing the latter in warp and weft inter- 
lacings might have been appUed in Fig. 6, but those selected 
are strictly in harmony with the decorative quahties of the 
style. Looming technology is illustrated as adding richness, 
novelty and unity of tone, first, to the integral parts of the 
pattern, and, second, to the complete plan of ornamentation. 
Weaving technique, in this instance, assumes its legitimate 



16 DRESS, BLOUSE, AND COSTUME CLOTHS 

province, that of producing a fabric of the correct build and 
fineness, with suitable variations in surface treatment for 
the effective development of the component sections of the 
design. It is seen in the weave details, the groundwork 
being a 16-end sateen, and the figured elements — stem, leaves 
and petals — in special types of intertexture ; while the choice 
scheme of colouring applied conforms with the clear dehnea- 
tion of the leaf figuring developed in fancy and original 
weaves. Dissecting the textural plans combined, the stem 
work results from employing solid floats of weft, edged with 
warp cord. The petals of the flowers are woven in flushes of 
weft — ^varying in length according to the emphasis it is desired 
to give to each detail — and in mat and repp weaves. The 
shading of the leaf flguring is mainly on the twilled principle, 
mth floats of warp for defining the veins, and with a fast rib 
ground for importing flatness of tone. 

13. French Silks. — French decorative silks are invariably 
illustrative of (1) correctness of manufacture ; (2) structural 
adaptabihty ; (3) design freshness and merit due to " weave " 
details and " weave " composition ; (4) originahty in pattern 
attributes and style ; (5) harmony of colour tinting and tone ; 
and (6) richness of quahty in finish or commercial get-up. 

Fig. 7 is suggestive of these several characteristics. It is 
a decorative style with a fine repp ground in a silver-grey 
tone of colour, and with the interior sections of the figuring 
in a fight tint of warp, and woven in sateen. The pronounced 
contrast between the compact floats of weft — forming the edging 
of the pattern features, and also the fine details — and the effects 
in warp sateen, bring out every section of the design. While 
the decorative forms of the pattern are skilfully executed, 
the beauty of style expression is a derivation of weave 
structures, counts and quahties of warp and weft yarn, and of 
accuracy in fabric setting. 

14. Loom Mounting and Figured- Velvet Production. — Another 
form of technique predominates in the origination and manu- 
facture of the decorative grade of velvet texture illustrated in 




2— (5264) 



18 DBESS, BLOUSE, AND COSTUME CLOTHS 

Fig. 8. Fabric build, rather than fabric diversification by 
weave assortment, is the sahent branch of textile study here 
typified. Loom-mounting, as exercised in the making of 
this kind of woven product, involves (a) the utilization of the 
full harness capacity in the development of the figured design ; 
(b) the use of a set of heddles in front of the harness for weaving 
the ground of the cloth ; and (c) the control, by means of 
special wires in the Jacquard machine, of a series of metal 
or wooden staves, inserted into the harness below the comber- 
board, for enabling the mails of the harness to be operated in 
serial groups in any determined order, or to correspond, in 
warp shedding, to a set of heddles, with, however, the staves 
remaining inactive during the process of Kfting the warp for 
the origination of the pile figuring. 

In the second place, this scheme of loom-mounting involves 
the individual tensioning of the pile warp yarns by winding 
each thread on to a separate reel or double-headed bobbin, 
made equal, in the resistance it offers to the dehvery of the 
yarn, to a small chain beam frictionaUy governed ; and also 
the tensioning of the satin and foundation warps by the use of 
ordinary beams independently actuated ; and thus providing 
for the regulation of the let-off of each kind of yarn as neces- 
sitated in the weaving routine. Work of this nature, as that 
concerning compound harness and shaft gearing, is purely 
technical in character, but requires to be devised and planned 
to coincide with the fabric data and structure, with which 
the design draughting must, moreover, be in perfect agreement. 

There are obvious distinctions between this form of tech- 
nology and practice and that relating to Scheme VI. 
*' Looming " covers the system of healding or of entering the 
threads of warp into the healds of the shafts or the mails of 
the harness ; and the mechanical motions and devices employed 
in obtaining, as in the lappet, gauze, and net effects, the decora- 
tion on the face of the cloth with yarns additional to those 
ordinarily used in the warp and weft ; and also the means 
employed in the production of textures with a waved, watered 



INDUSTRIAL AND COMMERCIAL ASPECTS 10 

or sinuous surface, and caused by the displacement of the 
warp threads, in weaving, from the normal or straight hne. 

15. Doupe and Cross Weaving Examples. — By the first of 
these means — ^the employment of doupe healds — ^fabrics are 
producible of a more or less perforated formation. The 




1A23 45B6 789CD 

Fig. 9. — Gauze Structure. 



10 II 12 



douping yarns — which may be of a Uke or dissimilar counts, 
and quality of fibre, to the yarns maldng the texture proper — 
successively intersect with the shots of weft on the right and 
left side of selected warp threads, interlacing plain or in some 
simple order. Thus, in Fig. 9, threads A and B and C and D 
" whip " or " twist " alternately from one side to the other 
of ends 1, 2, and 3, and 4, 5, and 6; and 7, 8, and 9, and 10, 11, 



20 DRESS, BLOUSE, AND COSTUME CLOTHS 

and 12, giving a gauze cloth of a definite open and variexi 
structure. Or the douj)e yarns may be actuated in series as in 
Fig. 10, when three ends, a, b, and c, intertwine with three adja- 
cent threads, ^,e, and/, with the shots of weft interlacing 3-and 3 
and in regular sequence in Parts A; and with the thick pick 2 
binding the crossing of four groups of whip threads in part B. 




a'' c" ef aK^ef a^c^ef a ^ c '^ e ^ 

Fig. 10. — Multi-Yarn Crossing in Gauzk Fabric. 



When it is considered, first, that the practice in working the 
doupe threads may be diversified indefinitely ; second, that 
the textural effects acquired may be united with plain and 
-other woven types in the weaving of striped, checked, and 
figured goods ; and third, that compound gauze and ordinary 
makes of cloth may be produced — such as fabrics having a 
gauze surface and a plain or twilled texture underneath — 
the extended usefulness of the gauze principles of weaving will 
be understood. 



INDUSTRIAL AND COMMERCIAL ASPECTS 21 

16. Lappet and Woven Lace Principles of Pattern Origina- 
tion.— Gauze weaving, as a scheme of intertexture differs 
greatly from that of lappet weaving, in that the cloth 
structure is entirely a resultant of shedding with shafts, or 
harness, comprising doupe or half healds, which aUow of the 
whip threads being transferred, according to the manner of 




I'lu. 11. — LAPPiiT Fabric. 



healding and sleying, from side to side of cei-tain ground 
warp yarns ; whereas, in the lappet arrangement, frames 
or needle bars, through the eyes of the pins or needles of which 
the threads pass, are placed in front of the sley, and on 
the lateral movement imparted to the frames depends the 
features seen in the fabric. In other words it is the function 
of the frames to spread the lappet yarns on the face of the 
cloth, Ufting and depressing them concurrently mth the 
shedding of the warp. The amount and sequence of the 



22 DRESS, BLOUSE, AND COSTUME CLOTHS 



traverse oi the threads is determined by the extent and manner 
in which the frames are operated by the cam or other automatic 
mechanism of the loom. In Fig. 11 the frames have been 
worked to yield a lozenge-shaped style in parts A which, it 
should be observed, is a distinct product of the lappet motion. 
It has the appearance and structural character of a pattern 
acquired by floating the weft yarn. This arises from the 
side-to-side dis23lacement of the frames laying the lappet 
yarns in a line with the shots of weft, and not in a Kne with the 
threads of warp. Many varieties of cotton, linen, silk, and 
mixed goods are adapted for this class of pattern treatment 
as will be subsequently demonstrated. 

17. Waved Surface Cloths. — To produce the waved-surface 
class of fabrics — ^also included in Scheme VI — the ondule 
reeds of the sley (Fig. 12) are of a special shape or design, and 

the sley is automatically moved up 
and down or in a vertical plane. The 
threads of warp are thereby made 
to change their position in the line 
of the fabric. The plan of inter- 
texture is not varied, but this move- 
ment of the threads develops sinuous 
or waved characteristics in the piece. 
Usually the cloths are made of fine 
yarns and moderately well set, so 
that, however slightly the warp 
yarns are affected by the form and 

movement of the reeds, the fabric tone and appearance are 

modified. 

18. Interlaced Surface Effects. — ^Without having recourse to 
the doupe mounting, lace and net effects may be woven by 
combining threads and picks of a suitable thiclmess and sort 
of yarn with the threads used in constructing the several 
sections of the fabric. These yarns are floated more loosely 
on the upper side of the texture than those of which the warp 
and weft are chiefly composed. They may be knit together in 




Fig. 12. 



INDUSTRIAL AND COMMERCIAL ASPECTS 23 

a variety of plans of interlacing to form different net structures, 
such as oval, circular, and irregularly-shaped. The network 
is weavable in sectional parts, or it may be distributed over the 
entire surface, of tlie fabric. It is developed in silk yarns 
on cotton, in mercerized cotton on worsted, and in mohair 
yarns on woollen textures. 




Fig. 13. — Kaiskd Kxopped Yaun 
CosTUJiE Cloth. 

19. The Yarn Unit and Manufacturing Technology. — 
Other manufacturing and designing principles and technicah- 
ties come into j)rominence in Scheme VII, than those para- 
mount in the schemes of textural construction and patternwork 
examined. These principles are combined with the systems 
of yarn making and of yarn structure and composition ; with 
the practice in cloth production as caused and fashioned by 
the fibrous materials used and admixed ; and with the 
quahties and features obtainable in the woven or knitted 
fabrics as the consequence of finishing treatment. It is not 
intended, in this place, to more than briefly describe the 
branches of technology comprised, and the classes of goods 
to which Scheme VII is apphcable. 



24 DRESS, BLOUSE, AND COSTUME CLOTHS 

Primarily, it should be observed that it is not generally sought, 
in such manufactures, to obtain effects in the textures by 
different plans of interlacing warp and weft, or by pattern as 
understood in the combination of ornamental forms, but to 
make a cloth of such a consistency and structure that, in the pro- 
cesses of finishing, diversity of surface will be developable. 
Fancy or plain yarns may be employed ; but, in filament 
property and density, they must be subservient to the nature 



?sif«?=*5« 



glltfSiiPliPlilPislilll^^ii^^ilti^Piillii^^^^ 



mmmmp^^^^m^w^mw^Mm^^u^t^^t^^^ 



^^^pp^fw^ 



Fig. 11. — Gimped-Weft Veil Tissue. 



and sort of fabric surface it is intended to produce in the pro- 
cesses of finishing. Thus knop, curl, flake, and other irregular 
threads are used for emphasizing the textm'al features as in Fig. 
13, where loiop yarns have been interspersed in the warp. By 
selecting mohair for the " loiop " characteristic, the long, 
lustrous fibres of this material are drawn or trailed on the 
face of the cloth in the operation of raising. Of the different 
kinds of folded-yafn patterns, applied to this and similar 
makes of texture, and also to other light fabrics not changed 
in appearance after weaving, such as that in Fig. 14 (a gauze 
specimen fined across with a thick gimp weft yarn), analyses 
Avill be given ; but it is now more especially to the manu- 
facture of the "ripple," "wave," and the "curl" grades of 
cloth that come into consideration. From the ordinary soft 



INDUSTRIAL AND COMMERCIAL ASPECTS 25 

fibrous face type of cloth in Fig. 15, to the iy^es ilhistrated 
in Figs. 16 and 17, it is a jDroblem of fabric structure in the 
right sort of yarn for the method of finishing to be adopted. 




Fju. l.J. l-'liJiiMl. .--i''lMnlli-,U C'l.dTli. 

20, Frise, Ripple, and Curl Manufadures. — For producing 
a full nap of fibre the yarns, forming the face of the texture, 



I 






Fig. 10. — ]JxFPLE Cloth. 



not only need to be of the correct counts but made of a 
suitable fineness and length of material. To make these points 
clear the style in Fig. 15 may be first examined. It is woven 
in the 4-end broken ^- twill, and shuttled with a soft-spun 



26 DRE8S, BLOUSE, AND COSTUME CLOTHS 

woollen yarn, with the indented spottings in picks of mer- 
cerized cotton, a yarn less suitable for raising action. With 
a small degree of felting, a cloth is acquired on which the 
nap or pile may be readily and uniformly developed as seen 
in the specimen. For producing a " ripple " surface (Fig. 16) 
the cloth is similarly constructed, but raising is done with 
the pieces in a moist condition ; and, after the pile has been 
formed, the pieces are treated on the napping machine to 
give the wavy surface. Yet different practices in cloth 




Fig. 17. — Curl-Surfaced Texture. 

making, and in yarn assortment, obtain in fabrics having a 
looped or curled face characteristic — Fig. 17. This struc- 
ture is made in cotton warp and mohair weft yarn. Each 
shot interlaces with, and floats over, a number of warp ends 
in succession, so that, in. the shrinkage of the piece, the floating 
picks buckle or loop on the surface, when the form, dimen- 
sions, and frequency of the " curls " produced depend on the 
plan of intertexture and the nature of the weft yarn used. 

21. Printing and Embossing. — Printing and embossing 
(Scheme VIII) are practised for attaining two distinctive 
objects in the manufacture of dress and costume cloths. The 
finest and thinnest — voiles and silks — as well as many classes 



INDUSTRIAL AND COMMERCIAL ASPECTS 27 

of di'ess and blouse textures, are printed either in the yarn, or 
in the piece, for the purpose of tinting, or of producing, the 
pattern style. But only the pile-finished costume cloth is 
adapted for the embossing operation ; and it yields a blocked- 
out pattern in the same shade as the dyed piece, though of a 
different tone. This change in toning is caused by the sup- 
pression of the pile of fibres by the embossing rollers, 




Fig. 18. — Printed Type of Design. 

resulting in the lateral sides of the fibres being, in such 
positions in the texture, exposed to the hght ; whereas, in 
the groundwork or unembossed parts of the fabric, the ends 
of the fibres appear in dense formation. Embossing does 
not, therefore, enhance the colour tinting of the piece in the 
same way as the printing process. Its function is to give a 
pattern impression, fairly permanent, on an otherwise plain 
but raised nap surface ; while the function of printing is 
either to yield a part or the whole of the colour composition 
of the design style. 

Such types of effect as that observed in Fig. 18 may be 
the sequence of printing the warp yarns prior to weaving, 
or of printing the goods after cleansing. Taking the former 



28 DRESS, BLOUSE, AND COSTUME CLOTHS 

as the method, the yarns require to be grouped, in the loom, 
in the order in which they are intended to develop the pattern 
details in the fabric. For the latter method, the cloths are 
plain woven or made in the white or grey. The printed-yarn 
practice provides for variations in textural colouring in the 
looming, but does not offer the same advantages as the 
printed-piece practice, for determining the colour ingre- 
dients of the manufactures as the commercial requirements 
may impose. 

22. Embroidery as an Accessory to Loomivork. — Embroidery 
(Scheme IX) constitutes a special branch of textile art, which 
is, from time to time, in vogue in both the plain and figured 
dress trade. It need only be briefly noted here. On the 
finished fabric, of a suitable material and make, the decorative 
plan — usually consisting of detached figures — may be freely 
executed in selected colourings. As an adjunct to loomwork, 
embroidery is an effective and economical method of obtain- 
ing on a prepared texture, which may be expeditiously 
manufactured, simple or elaborate styles of pattern. 

Any variety of fabric with a plain, twill, or fancy weave 
surface may be thus treated. The specimen (Fig. 19) is of 
the voile description. One utihty of the practice obtains 
in the readiness with which the added ornamentation is 
producible ; and in the development of the effects which it 
contains, with a minimum length of the silk or other special 
yarn applied. In this it differs from weaving, where the 
shuttle — unless a swivel batten is employed — charged with the 
weft thread, for constructing the sectional parts of the design, 
travels from selvedge to selvedge of the piece, though it 
may only distribute, on the face of the texture, a fraction of 
the length of the yarn utilized, that not appearing in the 
pattern being concealed from view. Moreover, should the 
figuring yarns be inserted in the warp they necessarily extend 
the whole length of the cloth, so that either of these methods 
of weaving spotted and figured designs, entails an excessive 
consumption of the supplementary and costly yarns. On 



INDUSTRIAL AND COMMERCIAL ASPECTS 29 

the otlier hand, the embroidery frame only involves the 
stitching with the extra coloured threads over such parts of 
the fabric as are actually covered by the pattern ; and it 
enables the decorative elements to be planned in fixed line 



0'*?^mk- 



mmm 










rjTj^ 



Fig. 19. — Embroideked Voile. 

order, on a drop basis, or in particular sections of the width 
and length of the piece. 

23. Tinctorial and Colour izaiioji Practices. — The progress 
made in recent years in dyeing, and in the application of 
chemical science to tinctorial methods and processes, has 
been followed by the systematization and expansion of the 
technological units of work comprised in Scheme X. The 
forms of practice therein imphed, penetrate the whole field 
and organic plan of textile manufacture from the selection 



30 DRESS, BLOUSE, AND COSTUME CLOTHS 

of the raw material to the finished goods, including the systems 
of blending fibres of dissimilar colouring affinities, and of yarn 
construction and combination ; also the principles of fabric 
weaving as they apply to modern industriahsm, for the express 
object of acquiring an amphfied tinted range in the com- 
mercial goods. From these technical means and resources — • 
only restricted in variety of textural result by the classes and 
grades of fibres spinnable and by their colourization value — • 
the trading in costume, dress, and other woven manufactures, 
has been greatly extended. More especially has this been 
marked in the manufacture of the following varieties of light 
fabrics of a plain and figured character — ■ 

TABLE II 

Textural Varieties — Piece-Tinted 
I. — Single-make Fabrics 
(a) Textures in mixture-shades, light, medium, and dark in tone. 
(6) Textures composed of warp and weft yarns contrasting in shade or 
coloiu" tone. 

(c) Textures consisting of one shade of warp and two shades of weft. 

(d) Textures composed of two shades in the warp and crossed with a 
third shade of weft. 

II. — Warp or Weft Compound Fabrics 
(a) Textures formed of two shades of warp and of one shade of weft. 
(6) Textures formed of three shades of warp and of one shade of 
weft. 

(c) Textures formed of two shades of weft and one shade of warp. 

(d) Textures formed of three shades of weft and of one shade of 
warp. 

III. — Compound Warp and Weft Fabrics. 
(a) Two-ply textures in two shades. 
(&) Three-ply textures in three shcides. 

24. Natural-Coloured and Piece-Dyed Goods * — ^It is under- 
stood that these several styles of woven textures are, as 
stated in Scheme X, produced in the natural colour of the 
materials used in yarn making. Their diversity of shade 
tone is the consequence of the assortment or percentages of 

* See Union Textile Fabrication, by the same Author and Publishers. 



INDUSTRIAL AND COMMERCIAL ASPECTS 31 

the filament ingredients of which the warp and weft threads 
consist, and of the system of dyeing practised. Here it will 




Fig. 20. — Bi-fibked Dressing-gown PAXxKUiN. 



be sufficient to indicate the manufacturing basis and pro- 
cedure comprised, by alluding to the figured specimens, in 
Figs. 20 and 21. The former is made of bi-fibred worsted 



32 DBESS, BLOUSE, AND COSTUME CLOTHS 

yarns and the latter of cotton and silk, both fabrics being 
weavable in the white or grey with the colour composition 
developed in the routine of piece dyeing. 

As a rule in such textures, the principles of design and of 
fabric weaving adopted are analagous with those obtaining 
in the manufacture of similar types of cloth in which coloured 
yarns are admixed in the looming operations. In the first of 
these examples — illustrative of tone differentiation due to 
fibre blending — the shades resultant are invariably " mixtures " 
and not pure or solid colours. One quality of hue necessarily 
distinguishes each group of shades observed in the dyed piece, 
so that the changes in shade depth, in any particular style, are 
strictly gradations in colour tone. They are not the product 
of diversification in hue or tint. This feature in the mixture 
tones acquired, in the dyeing of the goods, has to be taken 
into account in planning and originating the design scheme ; 
for unless cotton yarns, or yarns which may be differently 
treated in the piece tinting from the union filament yarns 
combined in the weaving of the texture, form part of the cloth 
structure, it is not feasible to separately emphasize any 
individual sections or details in the pattern. Exaimining 
the sjjecimen (Fig. 20), it is producible in two sorts of 
bi-fibred worsted yarns, namely, a warp yarn composed of 
60 per cent, of wool and 40 per cent, of cotton, and a weft yarn 
composed of 85 per cent, of wool and 15 per cent, of cotton, and 
by piece-dyeing the wool fibre a dark colour. The figured 
parts in the cloth result from the weft, and the ground, or 
lighter parts, from the warp threads. It is typical of the 
distinctiveness of line and detail practicable in the production 
of pattern by this system of colour treatment, and by selecting 
and applying suitable weave elements. In all instances the 
figuring, woven in compact floats of weft yarn, is in pro- 
nounced contrast with the warp-face twill in the foundation 
of the texture. 

25. Pattern Development in Cloths of Admixed Yarn Types. — 
Combining yarns spun from two or three varieties of fibre as 



INDUSTRIAL AND COMMERCIAL ASPECTS 33 

cotton and silk, cotton, silk and wool, etc., each yarn unit in 
the cloth may be differently coloured in the piece-dyeing pro- 
cess. This is observed in Fig. 21, a silk and cotton union 
texture. In the specimen the repp and waved twill features, 
and the leaf and floral forms, are woven in silk, the dark ele- 
ments in cotton, and the dulled grey spaces in the two lands 




Fm. 21. — Cotton and Silk Style — Piece-Tinted. 

of yarn worked into a plain rib. With the weave plans of 
this interesting structure, the design is clearly delineated in 
the untinted loom fabric, but dyeing the silk one colour and 
the cotton a second colour, whether in contrasting or comple- 
mentary hues, adds to the richness and commercial value 
of this style of manufacture. 

The practices in fabric construction, and in coloured-pattern 
development, exhibited in these examples (Figs. 20 and 21) 

3— (5264) 



34 DRESS, BLOUSE, AND COSTUME CLOTHS 

are analytically treated of in Union Textile Fabrication. The 
specimens are, therefore, to be viewed here as denoting the 
systems of manufacturing fancy goods in the natural or 
untinted material, and of combining the sorts of fibres selected 
in such proportions, either in yarn formation or in the grouping 
of warp and weft threads consisting of different kinds of 
filament, to yield, in piece-dyeing, definite shades or pure 
coloured results. In the " mixtures," the cloths, as indicated 
in Scheme X, may be elementary in weave type, or they may 
be, as shown in reference to Fig. 20, of a figured order ; while 
the employment of yarns, made of special sorts of fibre, either 
plain or pattern-decorated textiles are also obtainable with 
each yarn, in the finished texture (woven in the grey), distinct 
in tone, tint, or hue, that is, as identical in colour freshness and 
property as if the yarns apphed were hank, top, slubbing, or 
material dyed and prior to weaving. 

26. Factors Controlling Commercial Stability — Home Trade. — 
In reviewing the industrial phenomena and aspects of the 
dress trade it has been regarded as vital to outhne, as far as 
possible, the textural range covered, the basic and construc- 
tive principles in fabric orgination, and the design and colour 
schemes practised and elaborated. 

The commercial aspects of the trade will be noted as they 
concern the varied conditions and factors which induce and 
control productive performance and stabihty. These claim 
and exact constant thought and investigation on the part of 
the manufacturer, the designer, and the industrial expert. Ail 
trading achievement in textiles is contingent on the nature of 
supply and demand. Particularly is this a governing principle 
in dress manufactures, inasmuch as the marketable goods are 
subjective to insistent and capricious changes in material and 
style. Textile commerce may, in certain abnormal instances, 
be created and enforced on exclusive fines. Originative, 
inventive, and economic work in fabrication is competent of 
discovering and estabfishing a new textural basis wliich may 
fruotuate in this issue. But, in general, business in the dress 



INDUSTBIAL AND COMMERCIAL ASPECTS 35 

industry is measured and determined by conforming with the 
trend of fashion, especially as this stimulates and sustains 
the buying interests centred in the markets of Western 
Europe, the United States of America, and in the Overseas 
Dominions of Canada, Australia, New Zealand, and South 
Africa. 

27. Fashion. — Fashion — ^prevaihng taste in cut and make of 
garment — forms the pregnant and dominating cause of the 
quahty, shade, material and variety of the textures merchant- 
able. The producer must perforce organize and regulate the 
mill operations and manufactured output in accordance with 
its code of teaching. In doing tliis he finds latitude for the 
exercise of initiative faculty and ingenuity in cloth type, value, 
and diversification, providing the resultant manufactures are 
in consonance with the make-up of the style of garment in 
vogue. The study of the problem, as it affects progressive 
industriahsm, is facihtated in recognizmg that fashion is 
inspired and substantially formulated by social and economic 
conditions, and by historic events and conjecture. For 
example, the modern disposition for tailor-made costumes is 
largely the consequence of the professional hfe and career now 
pursued by women, and in contrast with the domestic sphere 
favoured by women of a former generation. To wear 
clothing of unnecessary length and width dimensions is 
not compatible with the convenient following of the duties 
in the office, the works laboratory, and the many different 
metiers in which women have acquked a legitimate place in 
the professional world. This social transition and advance 
has left its impress on the trading avenues in textiles for 
women's wear. Hence the manufacturing prochvities of the 
last few decades, during which woman's services in the capaci- 
ties named have been increasingly requisitioned, have gravitated 
in the direction of the origination of fabrics of the plain and 
twilled variety. Alpaca and figured textures have been 
superseded in the home trade by worsted (Botany and Cross- 
bred), tweed (Cheviot and Saxony), and union cloths, similarly 



36 DRESS, BLOUSE, AND COSTUME CLOTHS 

constructed in each case, though lighter in weight per yard, 
as goods ordinarily adapted for men's consumption. 

28. National Purchasing Power and Factory Production. — 
That the purchasing power of the community has a perceptible 
bearing on the nature and character of the goods fashionable 
will be evident. How this, in turn, is reflected in manu- 
facturing practice and trading ideals may be traced in the 
re-organization of the industry, owing to the advance in the 
labour market, and the betterment of the financial status of 
the working classes. A dechne in the workers' earning capa- 
city is followed by competitive strain in the production of 
inexpensive manufactures, as the augmentation of this capacity 
is signahzed by the transference of the competitive effort to 
the making of cloths of a superior material, structure, and 
quahty. 

29. Influence of Economic Evolutions. — Economic evolutions 
of this nature impose befitting thought and inquiry. On their 
judicious interpretation and sound analysis the factory pro- 
visions have to be made, and the scheme of trading devised. 
Their exigencies must be fully met and dealt with. For some 
years prior to 1914, the market conditions rendered " cheap- 
ness," in the manufactured product, a potential factor in 
maintaining trading constancy, and an absolute requisite to 
trading aggressiveness and prosperity. In the instance of the 
workers' wages reaching an unprecedented high standard — 
as in the present crisis, 1919-20 — ^the trade instincts and 
activities are levelled as to the classes of goods requisitioned. 
Pronounced demarcations in the sorts and grades of fabric 
for the respective sections of society are largely ehminated. 
The workers are clothed in a similar quahty and variety of 
texture as the middle and upper classes ; and, as a consequence, 
trading, in the bulk, is comparatively of a uniform description, 
both as to texture and as to the fibrous materials employed. 

The problem of what to produce is, therefore, intrinsically 
suggested in the economic position of the country. This 
moulds the whole basis and structure of the manufacturing 



INDUSTRIAL AND COMMERCIAL ASPECTS 37 

organization. For this reason it becomes imperative that the 
dress goods manufacturer should be aufait with the purchasing 
flexibihty of the community whose interests he seeks to 
command. Mutations engendered in this respect, of what- 
ever tendency, should be foreseen and calculated, and the 
productive operations adapted thereto. 

30. Consolidation of the Home Trade. — Apart from these 
considerations, the home trade is capable of being further 
consohdated by technical research relative to (l)the sources 
and means of acquiring textiu-al newness ; (2) style in the 
manufactured goods, including design and colour schemes as 
illustrated and exemplified in historic and modern woven 
specimens ; (3) textile analysis ; (4) economic methods of pro- 
duction as distinct from adulterative practices ; and (5) in 
yarn and cloth standardization. The subjects come within 
the scope of this work, and will be elucidated in their respective 
connections. 

31. ''Style'' Transitions. — Regarding "style " it has to be 
observed that, to the student of modern industrial practice, 
it is evident that transitions and developments, whether in 
small or in substantive elements, are incessantly being 
effected in manufacturing procedure which modify the types 
of textural production. These may be in the nature of 
revised and ampUfied phases of well-lviiown systems of work, 
or they may consist of styles emanating from experiment and 
investigation. Trading success and growth are recognized as 
being closely allied with, and dependent upon, the amount of 
technical ingenuity thus directed and exerted. This factor 
vitahzes mill productiveness, and determines the successive 
degrees of progress in the textile arts as associated with 
dress-fabric manufacture. 

A study and an analytical survey of the styles and classes of 
fabrication, season by season, may not palpably reveal the 
process of reconstruction taking place. Extending the period 
of comparison to ten or twenty years discovers, however, its 
active efficiency. Important and radical changes are now 



38 DRESS, BLOUSE, AND COSTUME CLOTHS 

observed as a direct result of sustained and successful effort 
in the origination of fresh varieties of loomwork. All advance 
in textile constructiveness is relative. It is not a spontaneous 
but an evolutionary growth. Distinctive achievement in the 
dress as in other branches of trade is rooted in historic venture 
and performance. Experimental speculation in manufacture 
and design is, therefore, strengthened in compass by embodying 
what has been accomphshed, as it is enriched in issue by 
expanding and supplementing the work already wrought. The 
technical co-efficients of commercial aptitude obtain, in a 
pre-eminent degree, in a comprehensive knowledge of " style " 
as defining the texture, design, and colour composition of 
the manufactures in vogue at different periods of the trade. 

32. Standardization in the Dress Industry. — Hitherto the 
principle of production to " standard " has not been appre- 
ciated to its full value, as a cause of business success, in the 
spinning and weaving branches of the dress industry. Stand- 
ardization in yarii and fabric, and also in dyeing and finishing, 
in the bulk groups of dress and costume cloths, should be 
instituted as a means of increased industrial efficiency, and as 
an auxifiary to trading practice and conservation. 

Experience and precedent have been largely the accepted 
rule and guide in the acquirement of a requisite quahty of 
yarn and texture. But it must be obvious that accuracy in, 
and uniformity of, manufactured result, are to be more satis- 
factorily attained when an organized system of testing the 
process products is adopted. The features and properties of 
the finished fabric are contingent on the correctness of each 
series of operations through which the material passes. They 
are not solely the organic derivatives of specified counts of yarn 
made of cotton, wool, silk, etc., woven into cloths of a pre- 
arranged thread compactness or density. Other and more 
subtle elements enter into the scheme of work, and assist in 
determining and fixing the actual grade of texture produced. 
Material preparation in carding and combing, in drawing or 
condensing, the degree of twine inserted in spinning, and the 



I 



INDUSTRIAL AND COMMERCIAL ASPECTS 39 

filament grouping and admixture in the spun yarn, all exert 
controlling effects on the fineness, softness, elasticity, wearing 
durability, and tensile strength of the woven product. 

The inference is that something more is needed than the 
checking and passing of the departmental output of goods, 
as at present done. Technical testing, comparative analysis, 
or laboratory investigations of the products should be 
undertaken and carried out in the factory. The equipment 
and province of the laboratory would be ordered and adapted 
to the class and variety of the materials used, the assortment 
of yarns spun, and the styles of fabrics made. In the case of 
a spinning mill, the apparatus would be such as to enable 
quaHtative and quantitative chemical analyses to be prose- 
cuted in the raw and manufactured ingredients employed ; 
microscopic examination of the process results ; and the testing 
of the yarns for fibre composition, twine, breaking strain, and 
elasticity. But each factory would find it convenient to add 
to the organization, adjusting the system of investigation to its 
special productions and trading requirements. Naturally, in 
the case of factories, including the whole scheme of manu- 
facture, equipment would be provided for covering the 
mechanical, chemical, comparative and identification tests of 
the fabric as well as of the yarn and the fibrous material ; and 
also of the degree of permanence and tone purity of the dyed 
colour, and the textural conditions and quahties due to the 
finishing routine. Standardization on this basis, in the dress 
trade, presupposes an important extension of mill procedure 
and methods, but it aims at a measure of industrial efficiency 
culminating in definite and consistent forms of textile 
commerce. 

33. Shipping or Foreign Trade — Divisible into Two Sections. — 
The Shipping or Foreign trade in dress goods is divisible, in 
regard to styles and descriptions of manufacture, into two 
principal sections. First, trade with the countries of Western 
Europe (France, Italy, Belgium, Germany, Spain, Portugal, 
and the Netherlands), the United States of America,' and the 



40 DRESS, BLOUSE, AND COSTUME CLOTHS 

Overseas Dominions of the British Empire, exclusive of India. 
Second, trade with the countries of the Near and Far East 
(Russia, Persia, Turkey, India, China, and. Japan) and of 
South America, more especially the Argentine Repubhc, 
Brazil, Peru and Chih, 

34. Prestige of the French Fashions and the Goods in Demand. — 
For the former section, the goods are mainly of a similar order 
and classification to those produced for the Home Trade, and 
which are saleable in the markets of the United Kingdom. 
Distinctions in colouring and in texture are, however, intro- 
duced in the instance of manufactures intended for Itahan 
and Spanish consumption. Generally, in communities in which 
the French fashions in dress are observed or followed, the goods 
purchased are of a hke material consistency and fabric variety ; 
but, in exploiting continental markets, the social and economic 
aspects and conditions, explained as influencing trading 
returns, have to be taken into account. 

35. Phenomena Affecting Trade in the Near and Far Eastern 
Countries. — ^Further, in the second category of the shipping 
trade, attention has to be given, by the home producer, to the 
following characteristic features and phenomena in the coun- 
tries concerned : (1) Climatic conditions ; (2) National customs 
in dress ; (3) Native predilections as manifest in the demand 
for textures of materials, designs, and colourings possessing a 
symboUcal or emblematical significance ; (4) Rehgious, caste, 
and social prejudices ; and (5) Economic cost of the manu- 
factures, especially in rivalry with goods made by competitive 
communities, e.g. France, Germany or America ; and as 
consistent with the purchasing power of the people. 

36. Board of Trade Intelligence and Foreign Tradi^ig. — The 
subject of this branch of the foreign dress trade is linked up 
with inteUigence bearing on these heads. Under informed and 
primed conditions technical power may be exerted in achieving 
the prescribed industrial and commercial task. If the maker 
should be imperfectly apprised of the specific requirements of 
a trading centre, he labours at a disadvantage, and his 



INDUSTRIAL AND COMMERCIAL ASPECTS 41 

productions are as likely as not to be unsuitable in material, 
quality, style and price. Exact and trustworthy commer- 
cial intelligence is the security of successful modern dress 
manufacture. 

Markets may be nurtured and exploited by gleaning and 
assorting data and information on different spheres of foreign 
commerce. A more complete inteUigence system, authorita- 
tively planned and operated, is fundamental to the commercial 
and manufacturing interests of the dress goods industry. To 
know the nature and scope of a trading requisition is, in busi- 
ness warfare, more than half the battle to a resourceful producing 
community. Hitherto the fertihty of the British industrial 
supply has exacted recognition and ensured progressive 
development. If the precise form of product were absent, 
a passable substitute was possible. Between the two lies the 
reahsm in manufactured adaptabihty and fitness, and this 
provides the true or preferential marketable value. Faculty 
in constructiveness is not to be lessened but augmented by 
the advantages in manufacturing practice accruing from 
penetrative and inclusive commercial information . The maker, 
possessing a sohd basis on which to estabhsh inventive work, is 
enabled to originate mercantile goods diversified in structure, 
design, and apphcation, and in close agreement with the 
special needs and technicahties of the markets for which they 
are intended. 

It should be reiterated that in cultivating Eastern and South 
American trading in dress materials, with a view to its con- 
stituting the staple business of the factory, the producer should 
have recourse to both private and official sources of inteUigence, 
To rely upon the former is not an adequate procedure. Isolated 
and spasmodic effort such as it embodies is not to be pitted 
against systematized inquiry and administrative action. In 
the latter, the objects and functions of the Commercial 
InteUigence Department of the Board of Trade grip the indus- 
trial problem. They embrace the collecting, co-ordination and 
presentation of informative records on the trade, industries, 



42 DBESS, BLOUSE, AND COSTUME CLOTHS 

and shipping of the countries affected. The plan formulated 
has the intention, firstly, " to enable the Government to form 
a correct appreciation of the commercial relations between 
the British Empire and the several foreign countries from the 
point of view of British commercial interests " ; secondly, 
" to faciUtate the efforts of the British traders to get into touch 
with the mercantile and industrial communities in foreign 
countries, as well as with the national or local authorities 
where necessary " ; thirdly, " to enable the Government to 
promote, and if necessary assist in negotiating through its 
agents abroad, commercial or industrial concessions to British 
subjects, where such concessions are of sufficient importance 
to call for Government intervention " ; and, fourthly, "to 
afford, within the limits of diplomatic or consular action, 
assistance in composing or smoothing over any difficulties that 
may arise beteeen British subjects in the exercise of their 
trade or legitimate commercial activity, and foreign Govern- 
ment and local authorities." Under the first category there 
is also the important issue of the British Government being in 
a position " to afford advice on matters arising in connection 
with the negotiation of commercial treaties, based on a com- 
prehensive knowledge of the commercial geography, legisla- 
tion, and actual conditions of the foregin countries concerned " ; 
and " to furnish to the British traders reHable information 
as to (a) local laws, rules, regulations, and trade customs ; 
(6) existing or potential markets for British exports ; (c) sup- 
pHes needed by, or useful to, British industries which are or 
may be produced in the countries concerned ; (d) openings for 
British capital in developing the natural resources and general 
prosperity of such countries ; and (e) suitable agents for 
British firms in foreign countries. 

This informative force should be serviceable in conserving, 
directing, and advancing British textile industry and com- 
merce. It opens up trading facihties and avenues of great 
potentiahty to the Enghsh manufacturer. Prepared instead 
of unprepared trading ground is to be available for industrial 



INDUSTRIAL AND COMMERCIAL ASPECTS 43 

developments. In the commercial exploration of a foreign 
country, accumulative intelligence, useful to the home pro- 
ducer, may either precede or be carried on side by side with 
trading activity, evolving conditions influential in enforcing 
and sustaining industrial continuity and progression. 

37. Provisions Relative to Trade Intelligence and Dress-Fabric 
Ma7iufacture. — Specifying the provisions of direct import 
and significance to the di'ess-fabric manufacturer interested 
in the shipping trade, they should also comprise — 

1. Intelhgence affecting commerce in manufactured goods, 
as it may be rendered instrumental in the successful exploitation 
of foreign markets, that is, suggestive to the producer as to 
the materials, textures, and styles of design adapted to 
national usages, dress, manners, and customs. 

2. General intelligence concerning the textile industrial 
status of a country as included in and determined by (a) the 
indigenous and imported supphes of the raw materials of 
manufacture ; (6) the existing and prospective character of 
the local industries ; (c) labour efficiency and the educational 
and official organization employed for its betterment ; {d) the 
branches of industry and commerce on which the activities 
of the country are mainly concentrated ; and (e) the initiative 
and enterprise shown in native manufacture, and the faciUties 
existing accessory to their reahzation. 

The more complete and the more searching the study and 
dissection of these problems, coiuiected with foreign trading 
in aU classes of fabrics for women's wear and apparel, the fuller 
the enhghtenment of the British producer on the exact 
needs of the shipping markets, and the stronger the 
state of preparedness of British industriahsm for assuming 
the province of furnishing the requisite manufactured 
supphes. 

38. British Industrial Centres. — The dress goods trade of the 
United Kingdom is chiefly located in the Bradford and Keighley 
districts of the West Riding of Yorkshire, the South-Eastern 
towns of Lancashire, and in Glasgow and the vicinity. The 



44 DRESS, BLOUSE, AND COSTUME CLOTHS 

woollen branches, as represented in tweeds and costume 
cloths, made of all-wool yarns, are practised in the Border 
towns of Scotland, in the north, west, and south of Ireland, 
in Huddersfield and the neighbourhood, with fine-faced goods 
of the habit cloth quahty in the West of England, and textures 
of a flannel character in Rochdale. Raw silk and artificial 
silk manufactures are extensively produced in Macclesfield, 
Coventry, and Spitalfields. Union silk textures are a staple 
section of the industry in Bradford, Keighley and Glasgow, 
but the raw silk goods are largely from the looms of 
Macclesfield, and the more decorative varieties from the 
looms of Spitalfields. Linen cloths form a comparatively 
smaller section of the trade. They are chiefly of Irish manu- 
facture and from the factories of Belfast and Lurgan, with 
limited contributions from the mills of Dundee and Dunferm- 
hne. Knitted or hosiery woollen and worsted textures are 
made in Leicester, Hawick, and Edinburgh, and knitted 
artificial silks in Macclesfield and Leek. Embroidered fabrics, 
of different yarn ingredients and looming structures, are 
pattern decorated on the embroidery frames of Nottingham, 
smaller design effects being hand-sprigged or machine-worked 
by the cottagers in certain Irish locahties. 

Bradford is the historic centre of the trade in lustre stuff 
goods, and includes Shipley, Saltaire, and Bingley. Keighley, 
with Silsden, CowHng, Skipton, etc., also occupies a prominent 
place in the same classes of manufacturing. Both the Brad- 
ford and Keighley centres speciahze on, first, the lighter makes 
of fabric — Sicihans, briUiantines, finings, figured lustres, gabar- 
dines, and the several sorts of alpaca, mohair, and camel-hair 
textures — and, second, on the medium weights of plain and 
fancy worsted and union costume cloths. Velvet, pile, and 
plush goods are also an important class of the productions 
of the Bradford miUs. 

Glasgow is the principal centre of the dress fabric industry 
in Scotland. While its trade output does not include ' ' lustres " 
it combines a large assortment of thin and light fancies, such 



INDUSTRIAL AND COMMERCIAL ASPECTS 45 

as skirting, blouse, gauze, and lappet textures as producible 
in heddle-mounted and Jacquard looms. 

The Lancashire districts naturally concentrate on cloths 
made of cotton yarns— the plainer and hghter varieties 
(voiles, mushns, and zephyrs) being made in Burnley, Heywood, 
Nelson, etc., lappet and gauze fabrics in Preston and Bolton ; 
striped and checked goods in Blackburn ; velveteens, cor- 
duroys, and velours in Hebden Bridge, Todmorden, and 
Sowerby Bridge (Yorkshire); and general and diversified 
sorts of manufacture in Manchester, Pemberton, Chorley, 
Bury, etc. The cotton trade is complex in organization, 
hence in the same mill voiles on 2-fold lOO's or 2-fold 150's 
warp and weft, and heavy flannelettes and creton cloths 
composed of 32's twist warp and 8's twist weft may be 

produced. 

The outstanding features of the trade, as here delineated, 
are the large and progressive industrial areas covered, the 
varied systems of manufacture fostered and practised, the 
technological interests involved, and the diversity of textural 
product acquired for both home and foreign consumption. 



CHAPTER II 

THE YARN UNIT 

39. — ^Yarn a Controlling Factor in Fabric Design. 40. — ^Yarn 
Features relative to Textural Utility. 41. — Cotton Yarns and Cloth 
Qualities. .42.— Linen Yarns and Textural Features. 43. — The Silk 
Yarn Unit. 44. — ^Yarns made of Animal Fibre. 45. — ^Worsted and 
Woollen Groups of Yarn. 46. — ^Wool Fibre and Thread Formation. 
47. — ^Yarn Specimens Compared. 48. — English and French Worsted 
Yarns. 49. — Value of Filament Length. 50. — Staple Measurement 
and Yarn Structure and Density. 51.— Lustre Quality in Cashmere, 
Alpaca, Mohair, and Camelhair. 52. — ^Yarn Differentiations. 53. — 
Circumferential Area of Yarns. 54. — ^Woollen-Yarn Structiire. 55. — 
Metallic Threads. 56. — Modern Practice and Threads made of Mineral 
Substances. 57. — The Twine Factor in Spun Yarns. 58. — ^Folded 
Yarns and Twine Insertion. 59. — Compound Yarns and the Dress 
Trade. 60. — Types of Folded Yarns. 61. — ^Basic Principles in 
Folded-Yarn Construction — Fancy Twists. 62. — ^Folded and Mvdti-ply 
Twist Threads. 63. — ^Fancy Yarns in Dress and Costume Textures. 

39. Yarn a Controlling Factor in Fabric Design. — ^It has been 
indicated that the Yarn Unit is a primary and constant source 
of textural diversification in the manufacture of dress goods. 
The importance of a fuU and accurate knowledge of the different 
kinds of yarn, with a technical appreciation of their structural 
quahties and characteristics, needs to be strongly emphasized. 
Modern practice recognizes the significance of the yarn product 
in a number of ways, and the competent designer proceeds on 
the basic understanding that to obtain an adequate measure 
of commercial success the scheme of fabric building starts 
with the fibre, takes cognizance of thread construction, enters 
into the loom-made texture, and covers the processes of cloth 
finishing. 

In fabric structure and in design planning, the yarn em- 
ployed is regarded as a controUing factor. On its apt selection, 
as to its material ingredients, counts or fineness and mechanical 
formation, the fitness of the texture for the purpose intended, 

46 



THE YARN UNIT 47 

and the effective development of the pattern details, are 
mainly dependent. 

40. Yarn Features relative to Textural Utility. — Yarn in this 
relation presents four distinctive features, each of which 
modifies its textural functions and apphcations, namely, (a) 
Filament composition ; (6) Diameter measurement or thick- 
ness ; (c) Structure as determined by the method of manu- 
facture; and [d) Weavable form, that is, whether a single spun 
thread or consisting of two or several spun threads folded into 
one yarn unit. In the dress trade, as pointed out in the 
early sections of Chapter I, every variety and description of 
textile fibre may be utilized. The goods may result from 
cotton, flax, silk, wool, hair, or wool substitutes ; or they 
may be admixtures of two or more classes of fibre. From 
this it is to be understood that whichever sort of material is 
applied, it is designed to impart its properties — whether 
natural or artificially developed — to the manufactured cloth. 
As this is a fundamental principle in all branches of textile 
production, it will be explained in reference to dress textures 
by considering the yarn groups obtainable from each variety 
of staple, and the qualities and grades of woven fabric 
acquired in each kind of yarn. 

41. Cotton Yarns and Cloth Qualities. — The textures resulting 
from the use of cotton yarns are normally clear in surface 
features, with the threads distinct, and the weave and pattern 
satisfactorily delineated. Compared with woollen and worsted 
fabrics they are somewhat deficient in softness of feel, but 
possess firmness and durabihty of structure. 

Under certain conditions the yarn properties, as derived from 
the raw material, are subjective to modification in the manu- 
factured goods. Thus, by the process of mercerizing, the 
natural flat tone of the cotton fibre is changed to a bright tone, 
causing the yarns so treated to give to the fabric a degree of the 
lustre seen in silks. Second, cotton-yarn cloths of the sateen 
type may be lustred in the work of dressing and finishing ; and, 
third, the thicker or heavier builds of cotton fabrics, composed 



48 DRESS, BLOUSE, AND COSTUME CLOTHS 

of loosely-spun yarns, may be raised and covered with a nap 
of filament, imparting some of the fuUness of handle which is 
known to distinguish woollen cloths. But, ordinarily, the 
cotton yarns, being compact and dense in fibre, and the fibre 
being small in diameter, are apphed to textures firm in con- 
struction, smart and clean on the surface, and well defined in 
warp and weft intersections. This is equally characteristic of 
the plain as of the fancy woven fabrics. It also distinguishes 
figured cotton goods, and cottons of the gauze and lappet 
structure. In velveteens, corduroys, and ribbed-velvet cotton 
manufactures, as in cloths of the velour (raised pile) descrip- 
tion a specific aspect of the pile, as contrasted with that in 
similar styles of fabrics obtained in silk, mohair, or worsted 
yarns, is duUness of colour tone. The even, smooth, and 
symmetrical formation of cotton yarns, and the range of 
counts in which the yarns are spun, render them applicable, 
as warp, weft, or as both warp and weft, to an extensive 
assortment of dress and blouse fabrics in light and medium 
weights. 

42. Linen Yarns and Textural Features. — ^With Knen yarns, 
somewhat brighter and better dehneated textural features are 
producible than in cotton yarns. The Hnen fabric has, how- 
ever, a pecuHar hardness of feel, which, in comparison with a 
cotton cloth of the same yarn setting, is suggestive of a defi- 
ciency in thread flexibihty and pliancy. Clearness and 
smartness of woven surface, with the interlacing details 
forcibly developed, are readily acquired in the use of such yarns. 
Yet Hnen yarns are not so generally well adapted for dress 
manufactures as yarns made of cotton. In the finer counts, 
they are employed in the construction of thin, fight textures, 
either plain, leno or gauze woven ; and, in the medium and 
thicker counts, of the looser spun grade, in the weaving of 
goods of the canvas cloth variety. Further, in admixture with 
cotton, Hnen threads yield a special class of union fabrics, 
in which cotton forms the material of the warp yarn, and fiax 
the material of the weft yarn. Linen textures are of great 



THE YARN UNIT 49 

durability, and recover their original freshness of tone in 
cleansing and pressing. The relative higher cost of flax than 
cotton, plus the increased attention required in loom pro- 
duction in the use of linen as compared with cotton warp 
yarn, detracts in a measure from the wider applicabihty of 
linen yarns in the making of dress goods. Linen, however, 
is preferably used in the surgical and medical profession on 
account of its clean, smooth quality, and also on account of 
the firm, compact thread it produces, and the readiness with 
which the fabric absorbs moisture. 

43. The Silk Yarn Units. — Silk and artificial silk are so 
largely used in dress fabrication, and have such a special tech- 
nical interest and value, that they are separately dealt with in 
Chapter III. Here it may be observed that neither material 
is prepared and formed into a thread by the systems applied 
in the treatment of cotton, flax, ramie, jute, wool, and hair. 
The first is in a matured thread-like state in the cocoon and is 
converted into a yarn of weavable consistency by " throwing," 
" reefing," and " doubhng " ; and the second is manufactured 
chemicaUy from wood pulp. " Spun " silk is the waste fibre 
derived from the reeling of damaged cocoons. By reducing 
such " waste " to a flossy material it is rendered suitable for a 
similar mechanical treatment — opening, drawing, and twisting 
— akin to spinning routine as commonly understood. Both 
Silk — raw and spun — and the artificial or chemically-produced 
silk substitute, are employed in fabrics composed of cotton 
warp to a large degree, and of worsted warp to a lesser degree, 
for imparting richness of textural tone and colour brilliancy. 
Silk is, moreover, used in the origination of numerous varieties 
of dress and blouse cloths, as well as important styles of 
figured goods, which will come under analysis. Added to these 
intrinsic textural values, silk yarns are obtainable in a fineness 
of diameter and of tensile property not practicable in other 
sorts of fibre ; while the pure silk fabric is remarkable for its 
durabihty in the made-up garment. 

44. Yarns Made of Animal Fibre.— These yarns, as 

4— (5264) 



50 DRESS, BLOUSE, AND COSTUME CLOTHS 

they concern the dress industry, are divisible into yarns made 
of wool (worsted and woollen), alpaca, mohair, cashmere, camel- 
hair and vicuna fibre. Of the yarns acquired from wool, and 
from wool admixed with vegetable fibre (cotton, ramie and flax, 
but mainly cotton), there are two principal varieties, namely, 
yarns prepared and spun on the worsted, or combed-and-drawn, 
system ; and yarns prepared on the woollen, or carded, and 
condensed system. The worsted and woollen practices of 
preparation include the yarn process and yarn types described 
in Table III. 

TABLE III 

Worsted Yabns Manufactured of Animal Fibre 

I. — ^Yarns manufactured on the English system and comprising — 

(a) Botany and Crossbred Yarns — carded, combed, drawn, and 
frame spun. 

(&) Lustre-wool Yarns — GUled, combed, drawn, and frame spun. 

(c) Alpaca, Mohair, Cashmere, and Camelhair Yarns — Gilled, 
combed, drawn and frame sptm. 

II. — ^Yarns manufactured on the French System and comprising — 

{a) Botany and Crossbred Yarns — Carded, combed, drawn, and 
self -actor sp\m. 

(b) Bi-fibred or Union Worsted Yarns — Carded, combed, drawn, 
and self -actor spim. 

Woollen Yarns Manufactured of Animal Fibre 

(a) Saxony Yarns, spun from fine and short-stapled wools. 
(&) Cheviot Yarns, spim from medium-stapled wools. 

(c) Vigogne or Union Yarns, made of wool and cotton. 

{d) Inferior grades of Saxony, composed of wool and wool substitutes. 

(e) Inferior grades of Cheviot, composed of strong wools and shoddy, 
or of the longer-stapled materials reclaimed from cast-off garments 
and fabrics which have been in use, whether consisting solely or partially 
of animal fibre.* 

45. Worsted and Woollen Oroujps of Yarn. — Both the worsted 
and the woollen groups of yarn vary considerably in the counts 
or thicknesses in which they are apphcable to the dress 
industry, such as, m the former, from 2-fold 20's (=10 hanks 
per lb., i.e. 2 fold 60's -— 60 hanks of 560 yards each per lb.) ; 

* See Wool Substitutes. 



THE YARN UNIT 51 

and, in the latter, from 16 to 24 yards per dram. Worsted 
threads of the smaller and medium diameters are used in the 
thinner and lighter classes of goods either made of pure wool 
or animal fibre, in both the warp and weft yarns, or with the 
warp yarn made of cotton or flax and crossed with a yarn of 
the worsted structure. Worsted threads of the heavier counts 
enter largely into the manufacture of solid worsted costume 
cloths. Woollen threads of the finer counts are adapted to the 
production of all-wool fabrics having a fibrous or face finish as 
in the " habit " cloth type ; those of the medium counts to 
union textures of a flannel character ; and the thicker woollen 
yarns to fancy tweeds of a costume weight. 

46. Wool Fibre and Thread Formation. — From wool the 
fullest range of yarn counts is derived. The flbre is wavy, 
flexible, and soft, with the external scales more or less lustrous. 
The staple, or natural length of filament, in the " short " 
wools, averages from a fraction to over 2 inches in length; in 
the " medium " wools from 3 to 5 or 6 inches, and in the 
" long " wools from under 7 to 16 or more inches. Chemically, 
the analysis of the fibre is identical in each class of staple, but 
the variations in filament fineness, elasticity, and measurement, 
provide an extensible spinning compass. The two systems of 
work indicated form the two ideals in thread preparation and 
construction. The worsted system develops the lustrous 
character of the wool in combination with the acquirement of 
a smooth, level thread ; and the woollen system develops the 
flexible property of the wool in combination with the produc- 
tion of a yarn having a comparatively non-lustrous surface, 
and one in which the fibres are freely commingled and 
intercrossed. 

Whenever, in dress manufacture, it is sought to emphasize 
the lustre value of the material in the commercial fabric, the 
yarns selected are spun on the worsted practice. To acquire 
this value with yarns of the woollen nature involves raising 
the surface of the cloth, or the bringing of the fibres into a 
coincident relation as obtams in worsted thread construction. 



52 DBESS, BLOUSE, AND COSTUME CLOTHS 

Parallelism of filament in the texture, right or under side, lends 
brightness of tone to the woven manufacture, in so far as 
it is producible from the class of wool used. On the 
other hand, fullness and depth of tinted tone coincide 
with the tips of the fibres being exposed to the fight, as in the 
instance of the crossed and intertwined grouping of the fibres 
in the woollen thread ; and also in a milled and raised cloths in 
which the ends of the fibres rather than their lateral sides are 
presented to view 

Softness, warmth of feel, and comfort in the wear, are the 
characteristic features derivable from the employment of yarns 
made of wool in whatever structural form they are appHed 
in the weaving process. Whether the staple is short, medium, 
or long, the fibre coarse or small in diameter, or the wool spun 
into a combed or carded thread, the textural product should 
possess these quahties in a pronounced degree. 

It is not, however, to be understood that the yarn, and the 
texture manufactured, do not differentiate in value and in 
technical and trading appKcations with the sort and grade 
of wool selected. With wool, and also with other varieties 
of textile fibre, the yarn features and yarn utifity are modified 
with the nature and fineness of the filament, and with the 
length and elasticity of the staple. Thus the shorter-grown 
wools yield the Botany and Saxony kinds of yarn, the medium- 
grown wools the Crossbreed and the Cheviot, and the long- 
grown wools the Lustre kind of worsted yarn. Into the uses 
of the different categories and quafities of wool it is not neces- 
sary to enter here.* But the structural form and special 
weaving properties of each description of yarn require to be 
taken into full consideration. Each type of thread is a unit 
in fabric production, so that its standardized applications in 
manufacturing practice need to be explained. The industrial 
designations of the respective classes of yarn, and the approxi- 
mate range of counts in which they are used commercially are 
given in Table IV. 

* See Chapter I, Woollen and Worsted, 



THE YARN UNIT 

TABLE IV 

CoMiMERCiAii Yarn Counts — ^Wool and Hair 

{See Specimens in Fig. 22) 



53 





Description. 


Range oj Counts in 2-jold 
Yarns. 


A 


Botany Worsted (English prepared and spun) 




2/16's to 2/180's 


A2 


„ „ (French prepared and spiin) 




>» j» 


B 


Crossbred Worsted (EngUsh prepared and spun) 




2/8's to 2/32'3 


B2 


„ „ (French prepared and spun) 




„ „ 


C 


Lustre Worsted 




2/12's to 2/40*3 


D 


Cashmere 




2/12's to 2/32's 


E 


Alpaca 




2/12's to 2/50'3 


F 


Mohair 


2/12's to 2/50'sor 2/60's 


G 


Camelhair 




2/8's to 2/40's 


H 


Saxony Woollen 


2/10 skeins to 2/44 skeins 


I 


Cheviot 


2/8 


2/28 „ 






Range oj Counts in Single 








Yarns. 


A^ 


Botany Worsted (English prepared and spun) 




lO's to 80's 


A' 


„ „ (French prepared and sp\jn) 




>» . 


Bi 


Crossbred Worsted (English prepared and spun) 




8's to 32's 


W 


„ ,, (French prepared and sp\an) 




» !» 


Ci 


Lustre Worsted 




12's to 40's 


Di 


Cashmere 




12's to 32's 


W 


Alpaca 




12s to 50's 


Fi 


Mohair 




12's to 50's 


Qi 


Camelhair 




8'3 to 40's 


H? 


Saxony Woollen 


5 


skeins to 40 skeins 


P 


Cheviot „ 


3 


» 24 „ 



47. Yarn Specimens Compared. — All these yarns differ in 
character and in textural application ; yet the yarns A to G, 
in both the 2-fold and single counts, are of the worsted struc- 
ture, with the fibres similarly straightened, levelled, and Uned 
with each other in the making of the thread. The structural 
distinctions are prmcipally due to the varieties of material 
used in their manufacture ; and, in a secondary sense, to the 
necessary differentiations in the mechanical treatment incident 
upon the working of materials of dissimilar staple measurement 
into a yarn-Hke form and condition. In the instance of A and 
A2, B and B^, A^ and A^, and B^ and B^, the distinctions are 
also caused by the practice of two systems of drawing and 
spinning. First, it should be noted that threads A, A^, A^, 




D^ = 2/16's Cashmere. 

D^ = 2/16's Cashmere and Wool 

E* = 28's Alpaca, 



E- = 32's Alpaca. 
E' = 36'3 Alpaca. 
Gi = 2/16's Camelhair. 



G^ = 2/16's Camelhair and Wool. 




Fig. 22. 



F^ = 2/32's super Mohair. F^ = 1/16*3 Super Mohair. 

F2 = 2/40's „ „ F= = 1/24's „ 

F^ = 2/50's „ „ F* = 1/30's „ „ 

F' = 1/36's Sv.per Mohair. 



56 DRESS, BLOUSE, AND COSTUME CLOTHS 

and A^ are denser and more compact in fibre than threads 
B, B^, B^, and B^. This fundamental distinction between the 
two typical worsted threads arises from the finer and shorter 
wools employed in spinning Botany as compared with Cross- 
bred yarns. The latter thread is of the opener and stronger 
character and results in fabrics of a brighter tone than the 
former. Botany cloths are, however, the softer, the more 
supple and the more phable, while the Crossbred-yarn cloths 
possess the greater crispness or sharpness of handle. It 
follows that textural quality, as determined by fineness of 
fibre, is obtainable to a superior degree in the Botany yarn, 
and textural quahty, as determined by brightness of surface 
and keen firmness of feel, is the more effectively developed in 
yarns of the Crossbred variety. 

48. English and French Worsted Yarns. — Apart from these 
features — ^the results of the kinds of wool selected for the 
manufacture of the respective yarns — ^the types of thread 
specified at A and A^ or A^ and A^ differ in structural formation. 
The Enghsh-made worsted. Botany or Crossbred, is the 
clearer in tone and presents the more level and smoother 
surface, while the French-made worsted, from the same class 
of wool and spun to identical counts, possesses the greater 
suppleness and flexibihty of structure — ^that is a thread of a 
more yielding filament consistency. One yarn may be desig- 
nated a comparatively " lean," and the other yarn a com- 
paratively " foody " worsted thread as regards fibre composi- 
tion and fibre grouping and arrangement. These distinctive 
characteristics originate in the methods of drawing and spin- 
ning. The combed slubbings, on the Enghsh practice, receive, 
at each operation in the drawing sequence, a quota of false 
twist, and a percentage of oil, and the yarn is frame spun ; 
whereas, in the French practice, the combed slubbings pass 
down the drawing in a perfectly open and dry state, and the 
yarn is finally spun on the self -actor, but " roUer " and not 
" spmdle " drafted as in the making of wooUen yarn. These 
structural distinctions, in the two grades of worsted thread, 



THE YARN UNIT 57 

will be shown to have a bearing on the purposes to which the 
respective yarns are apphed in dress fabrication. 

49. Value of Filament Length. — ^When the yarns defined as 
lustre worsted, cashmere, alpaca, mohair, and camelhair — 
C to G in Table IV and specimens D^, to G^ in Fig. 22— 
are examined, it is found that staple length and filament 
structure have a dominant effect on the quality of all classes 
of " lustre " yarns. 

Each fibrous material here represented is of the long-stapled 
variety. In preparing fibres of a pronounced length into yarn, 
however small the yarn may be in circumference, the fibres 
freely overlap each other in a hneal direction, and for a frac- 
tional length of the thread corresponding with their average 
measurement. Therefore, the longer the individual fibres in 
the staple, when such are mechanically levelled and attenuated 
to their normal stretch, the smaller the number of filament 
units in a given counts of yarn, but the more extended the side 
by side relation of fibre wdth fibre in the thread. Taking, for 
example, two materials of the same net filament fineness, say, 
merino combing wool and cashmere, the first of 2 in. to 2| in. 
and the second of 5 in. to 6 in. in staple, and spinning each 
to 30's counts (diameter jis of an inch) the percentage of fibre 
in the worsted yarn, length for length, would be much higher 
than in the cashmere. A dissection, however, of cross sections 
of the different yarns would show the aggregate number 
of the fibres in each to be in approximate agreement. Com- 
parative shortness of staple, in the wool, accounts for the 
relative increased quantity of filament in the Botany as con- 
trasted with the cashmere yarn when examined inch by inch ; 
and identical filament fineness, in the wool as in the cashmere 
staple, accounts for the ratio of fibres being in conformity, one 
thread with the other under a cross section analysis. Hence 
fineness, and not length, of filament determines the number 
of fibres in a specified yam diameter ; while length, rather than 
fineness, results in the yarn being filament marked and 
characterized. 



58 DBESS, BLOUSE, AND COSTUME CLOTHS 

50. Staple Measurement and Yarn Structure. — Staple measure- 
ment as a co-efficient in yarn structure may be graphically 
illustrated. To refer to Fig. 23, section A is suggestive of the 
fibre classification and grouping in yarns consisting of short- 
stapled, and section B of long-stapled, material. The more 
extended overlapping of fibre with fibre is at once observed 
in A as compared with B. The larger number of individual 
fibres required in A to form one or several inches of yarn — 
increasing with the amount of disparity between the average 
lengths of the two classes of filament represented — is also 
clearly brought out. Another feature is suggested, that of 




Fig. 23. 



the influence of fibre length in imparting character, as indicated 
above, to the spun thread. In the shorter stapled material, 
the fibres in the aggregate, rather than as separate units, 
modify and fashion the yarn quality and structure. Thus, in 
threads made of fine merino wool the fibres in the mass yield 
the structural yarn value, each filament being less distinctive 
in the thread formation than in yarns made of lustre wool or 
long-stapled material. In the latter, the extent to which each 
fibre runs through the thread induces conditions which accentu- 
ate the physical properties and structure of the filament, so 
that the fibrous factor is rendered increasingly assertive in 
giving definition to the tone and constructive type of the 
yarn. 

51. Lustre Quality in Cashmere, Alpaca, Mohair, and Camel- 
hair. — When these data are associated with the distinctive 
surface elements of the longer varieties of animal fibre, they 



THE YARN UNIT 59 

augment in value as they affect the nature and quaUty of the 
spun thread. In alpaca, cashmere, mohair, and camelhair 
{see specimens in Fig. 22), and also in the lustre wool, the outer 
scales are of the larger dimensions, but symmetrical in order 
of grouping from the root to the tip of the fibre. The scales 
in the wool filament — merino, crossbred, and lustre — tend to 
protrude shghtly from the core outwards, but in other animal 
fibres they lay flatter or closer to the surface, which adds to 
the smoothness of the hair or filament. In other words, the 
serrations forming the external portion of alpaca, cashmere, 
and mohair are of that evenness of disposition as to reflect 
the light freely, or to develop the natural brightness of the 
staple. The true, straight formation of such fibres also con- 
tributes to the development of this quality. The staple of the 
materials may be wavy, or it may be comj)osed of spiral locks, 
but the individual fibres are less undulated, or crimpy in 
appearance, than the fibres in the staple of merino or crossbred 
wools. 

52. Yarn Differentiations. — The manufacture of yarns in the 
long-stapled materials on the worsted principle, with the 
filaments correctly aligned, has the effect of exhibiting the 
lustrous tone of the materials, and also of utihzing their 
maximum staple length in producing a smooth, even thread 
structure. Further, considering the several classes of yarn 
tabulated, and in the light of these deductions, it wdll now be 
understood how yarns spun to the same counts, and by similar 
mechanical routine, actually vary in technical features and in 
manufacturing attributes. First, the more open structure of 
Crossbred as contrasted with Botany yarns, is obviously caused 
by the relatively stronger and thicker fibres of which the Cross- 
bred yarn is composed. Second, in regard to the cashmere and 
alpaca yarns (D^, D^, E^ and E^ in Fig. 22) they might be formed 
of fibres of an average fineness as the Botany w^orsted but of a 
greater staple length, resulting in the comparatively " thinner " 
and " leaner " quaUty of these threads. SmaUness of fibre 
diameter, in both the cashmere and the alpaca, is the origin 



60 DRESS, BLOUSE, AND COSTUME CLOTHS 

of the softness and suppleness of such yarns, which, in the better 
quaUties, are also distinguished by silkiness of feel. Third, the 
lustre worsted and mohair are both bright in tone but of a less 
flexible filament composition than cashmere or alpaca ; with 
the mohair, if spun from selected sorts, of an exceptional lustre 
and colour purity. 

53. Circumferential Area of Yarns. — It should be observed 
that the disparity in the circumferential area of the different 
varieties of yarn, when spun to identical counts, is more 
apparent than actual. Lustre threads of the same counts as 
Botany yarns appear to differ in thickness or diameter. This 
technicahty requires explanation. Lustre yarns are particu- 
larly suggestive of the influence of filament quahties — fineness, 
tensihty, and length — ^in the working or weavable circum- 
ference of the thread produced. Yarns may be firm, hard, or 
loose and phable, or even spongy in fibre composition. As the 
yarn structure leans to one or the other of these extremes, 
it assumes, or relapses from, its true mathematical 
proportions. 

The fullest measure of filament consistency and cohesion is 
observed in the Enghsh and Fr.mch Botany yarns. Compact- 
ness of structure in these yarns is not a consequence of exces- 
sive twisting. This is absent from all Botany yarns which are 
normal spun, or from yarns in which the turns per inch are 
consistent with the staple length and the yarn thickness. Yet, 
as pointed out, there are discrepancies in structural details 
which modify the perceptible diameter of the different kinds 
of yarn made of animal fibre. It has to be taken into account 
that, as the staple length increases, the average filament 
stretch in the thread becomes greater, and this is foUowed by 
a proportionate diminution in the aggregate number of 
fibres in a transverse section of a known counts of yarn. This 
implies that the greater the length of the fibres combined in 
making the yarn, the less, as a common rule, the twine insertion 
in the process of spinning to form a weavable thread, and the 
more favourable the yarn structure acquired to the dispersive, 



62 DBESS, BLOUSE, AND COSTUME CLOTHS 

spreading, and diffusive properties of the materials used. By 
such filament conditions the superficial area of the thread is 
visibly enlarged, and this exaggerates its working or textural 
setting diameter, and also affects the properties it originates 
in the fabric. 

54. Woollen-Yarn Structure. — Woollen yarns are typical of 
the spun thread structure in which the maximum filament 




Fig. 25.^ — Sample of Condensed Woollen Sliver. 



density, and the maximum amount of filament crossing, 
obtain. How markedly the woollen differentiates from the 
worsted structure, will be evident on comparing the fibre 
grouping and relation in the combed top (Fig. 24) and in the 
condensed shver (Fig. 25). The lateral uniformity, the direct- 
fine order, and the parallel co-extension of the fibrous 
ingredients, are the striking features of the former ; as the 
involved cohesion, and sinuous, hooked and twirled formation 



THE YARN UNIT 63 

of the fibrous ingredients, are the striking features of the 
latter. The combed slubbing and the carded sliver are 
the basic material forms of all descriptions of worsted and 
woollen threads. With the fibre preparation for spinning 
thus widely differing, the yarns produced necessarily vary in 
constructive details and in structural arrangement even in the 
use, as in the specimens in Figs 24 and 25, of a similar quahty 
of wool. It will be shown in treating of the application of the 
" Yarn Unit " how the manufacturing practice is extensible by 
the selection of one yarn or the other. For the present the 
points to be noted relative to each sort of yarn spun on the 
woollen principle are (1) the filament density of the thread, 
which consists of all kinds of fibre, however diversified in 
measurement, existing in the material selected ; (2) its firm 
central coil with its rough, sinuous exterior as compared with 
worsted, cotton or linen yarn ; (3) its disposition to develop 
a fibrous cover on both sides of the cloth ; and (4) its structural 
character provides for textural diversification as obtained 
in the processes of cloth finishing. 

55. Metallic Threads. — ^In addition to what may be termed 
the standardized materials employed in yarn construction, 
and to which reference has been made, the range and character 
of the dress trade admit of the use of aU substances, natural 
or manufactured, which may be reduced to a weavable form. 
For acquiring specific features in the design or fabric style, 
threads of a mineral origm are apphcable. Cloths composed 
partially or wholly of metallic threads have from time to time 
been woven. In China the art of weaving threads made of 
the precious metals was understood at an early date. More- 
over, on the exploration of India in the Middle Ages by 
Portuguese, Venetian, and EngHsh merchants, textures made 
of gold were found to be a native production. 

Artistic specimens of Florentine craftsmen of the thirteenth 
to the seventeenth century, in which gold and silver threads 
are used, are stiU extant, and an example of this class, woven 
in the fifteenth century, is photo-microgi'aphically illustrated 



64 DRESS, BLOUSE, AND COSTUME CLOTHS 

in Fig. 26. As magnified, the constructive scheme followed, 
and the distinguishing details of each kind of thread combined, 
are rendered visible, namely (1) the varieties of warp and weft 
yarns, including linen in sections a, gold and silk strands 
folded into compound threads in parts b, the flat ribbon-like 
bands at c, and the multi-fold gold threads in section d ; (2) the 
minute textural characteristics arising out of these distinctive 
thread structures ; (3) the full plan of intertexture, so that the 
warp and weft interlacings are clearly translatable ; (4) the 
relative value of each species of thread, first as a textural unit, 
and, second, as an effect producer ; and (5) the degree of yarn 
compactness, suggestive of the loom setting and of the fric- 
tional strain each class of thread sustains in the making and 
in the application of the fabric. 

The Indian art weaver has carried this extravagance, in the 
admixture of priceless with ordinary classes of materials, to 
a point of lavishness undreamt of in the Western school of 
design, as instanced in the Baroda tapestry or carpet. This pro- 
duction resembles in the ground sections a woven pile structure, 
but hterally it is a loom-formed and embroidered piece of 
jewellery — a tissue of pearls, rubies, sapphires, and diamonds. 

56. Modern Practice and Threads made of Mineral Sub- 
stances. — ^Modern practice discounts the use of gold and silver 
threads, but resorts, in a limited way, to the insertion, into 
either the warp or weft of the texture, of metalhc strands 
assorted with yarns of a suitable diameter and grade of fibre. 
Figs. 27 and 27a are examples of this order. The utihty of 
the metallic threads consists in the scintillating lustre acquired, 
which is distinctive in effect from the lustre characteristic of 
thrown silk threads. The contrast, as developed in the actual 
fabrics, is not, however, clearly distinguishable in the photo- 
graphic reproductions. Fig. 27 presents, in the cloth, three 
species of textural contrast due to the cotton warp 
and weft, composing the sections in plain interlacing, the 
spun silk weft details, and the spottings in gUt shots of 
weft which are floated without stitching on the face of 




5— (5264) 



66 DRESS, BLOUSE, AND COSTUME CLOTHS 

the pattern. In Fig. 27a the metallic threads are appUed 
in both the warp and the weft. Those inserted into the 




Fig. 27. 



-Cotton-Yarn and INTetalijc- 
Thread Texture. 



warp (stripings A) appear bright and distinct, but those 
used in the shuttling and making the central portion of 
A A 




I 



Fig. 27a. — Silk and Metallic- 
Thread Specimen. 



THE YARN UNIT 67 

the leaf come out in a subdued or grey tone. The specimen 
is, therefore, instructive in illustrating the nature of the 
phenomena of the direction of the rays of light in viewing 
textures composed of these yarns. With the power of illumina- 
tion in coincidence with the lateral surfaces of the threads the 
" lustre " is accentuated, which partially explains the scin- 
tillated colouring and textural quahties produced in this class 
of woven combination. 

When strands of a metal category are employed, they may 
be folded, as in Fig. 27. with cotton and Hnen threads for the 
purpose of enhancing their weavable structures ; but in the 
case of mineral fibre, e.g. asbestos, being used, it is prepared 
and spun into an individual yarn of a Hke formation to the 
yarns made of other sorts of textile material. 

57. The Twine Factor in Spun Yarns. — Yarn structure, in 
any quahty or description of material, is variable with the 
degree of twine, or turns per inch, imparted into the thread in 
the spinning operation. The terms " hard " and " soft " twist, 
applied in the trade, have a relative meaning, inasmuch as the 
length of staple of which the yarn is composed, and the yarn 
counts, regulate the twine factor in producing a specified 
class of yarn. " Twist " concerns, in the first place, the 
elasticity and breaking strain of the thread, and, in the second 
place, the apphcation to which the yarn is put in commercial 
manufacture. Thus, weaving range and work are affected, 
as well as the make and style of the finished cloth, by the 
amount of twine in the warp and weft threads employed. 
Some cloths necessitate the use of yarns loosely spun, as in 
acquiring textures of a soft handle or with a fibrous surface ; 
and others, as in voiles, crepes, and fine, clear twilled goods, 
necessitate the use of yarns of a maximum twist. Between 
these two extremes in " twine " there are the ordinary types 
of yarn in which the twist is adjusted to produce a yarn of 
sufficient elasticity to sustain satisfactorily the tension apphed 
in rapid weaving, and, at the same time, give the required 
quahty of fabric. 



68 DFESS, BLOUSE, AXL COSTUME CLOTHS 

The technical terms of '' right-hand "'" or '" crossband." and 
'■ left-hand "' or '"' openbaud/' signify the direction in -which 
the twist is developed in the thread diu-ing spinning. In 
regard to the two descriptions of yarn which are in this way 
obtained, it is a general method, in cloth construction, to apply 
one " twist " of yam in the warp and the reverse '" twist " 
of yam in the weft . But the rule is not hard and fixed, and 
is subject to modification with the weave effect and textural 
result to be acquired. It is the practice to foUow in the 
manufacture of fabrics in which smartness and clearness of 
surface is essential, but may be advantageously departed from 
in making cloths in which the warp and weft intersections are 
not intended to be visible in the finished goods. 

Twills, Venetians, sateens, and other similar weave structures 
are, as will be shown, developed by having due regard to the 
direction and degree of " twine '" in the yams selected. They 
impose the combination of firm-spun warp and medium- 
spun weft yams ; whereas soft-handling dress serges, 
wool cashmeres, velveteens, flannel textures and habit cloths 
may be correctly made by combining loose-spun yams. On the 
other hand lustre dress goods, cotton pojjlins, and many 
crepe cloths are composed of hard-twisted yam one way and 
soft-twisted yam the other. In the instance of repps, gauzes, 
lenos, and voiles the emphasis of the distinctive characteristics 
seen in the textures, is dependent upon the selection of yams 
of the recj^uisite hardness of twist. 

58. Folded Yarns and Ticine Insedion. — ' Twine ' has so 
far been considered as a factor irrespective of whether the yam 
specified be single or folded in character. It has other and 
important relations as it bears on the twisting together of two 
or several threads into a compound yam unit. Tor example, 
in producing two-ply or multi-ply yams the separate threads 
combined, and also the resultant folded yams, may be modified 
in the process of doubling or folding. First, in combining two 
threads, say, A and B, both of the same kind of twine, and 
folding them by twisting in conformity with the original twine 



THE YARN UNIT 69 

in each thread, the hardness of the two threads is augmented; 
whereas by twisting them in the reverse direction of the original 
twine has the contrary effect, and would cause both threads 
to be looser and softer in structure. Second, in combining a 
thread C, right-hand twist, with a thread D, left-hand twist, 
and making them into a folded yarn by (1) twisting to the 
right, and (2) twisting to the left would change the respective 
threads thus — 

(1) C would be rendered firmer and D a softer yarn, 

(2) D ,, ,, softer ,, C a harder yarn. 

In each form of doubling the quahty, tensihty, and features 
of the folded yarn developed would be also affected . Increasing 
the multiple of the single threads employed, and using threads 
of different materials or of a different system of construction, 
adds to the technical interest and value of the compound yarns 
obtained, more especially when it is taken into account that 
each type of folded yarn has a distinctive utihty in fabric 
building and as a quaUty producer in cloth manufacture. 

59. Co77ipound Yarns and the Dress Trade. — The problem, 
as it concerns the dress industry, is exemplified in the folded- 
yarn specimens illustrated in Fig. 28. The thread units 
appHed in the formation of each yarn type, and the practice 
adopted in the folding operation, are specified in the Table 
shown on page 70. 

60. Types of Folded Yarns. Series A (Fig. 28). — These 
examples are illustrative of the kind of yarn resulting from 
folding two yarns of the same counts by varying the degree of 
twine inserted in the process of doubhng, thread No. 1 being 
soft twine, thread No. 2 medium, and thread No. 3 hard twisted. 
Examining the yarns under magnification — as should be done 
in all the specimens — ^i-e veals the slacker structure of No. 1 
as compared with No. 2, and No. 2 as compared with No. 3, 
and also the evener, fuller thread obtained as the turns per 
inch increase in the doubhng ; for this factor, as it augments, 
reduces the twist ingredient in the single threads. 



70 DRESS, BLOUSE, AND COSTUME CLOTHS 

TABLE V 

Folded -Yarn Construction — Fig. 28 

M = Medium Twine. ^ = Right-hand Twist. ^ = Left-hand Twist, 
S = Soft 



Speci- 
men 

Nos. 



Yam Units. 



Twine in 
Folding 
Opera- 
tion. 



1/40's Botany 
1/40's 
1/40's „ 



M' twisted with 1/20's M' 
M' „ „ 1/20's M' 

M' „ „ 1/20's M' 



1/40's „ M' with 1/20's Crossbred M' 
1/20's „ M' ,, 1/40's „ M' 

1/40's „ M' „ l/40's Botany M' 

1/40's Crossbred M' „ 1/40's Crossbred M' 

1/40's Botany M' with 1/40's Botany M' and 1/40's Botany M' 

1/40's „ M' „ 1/40's „ M' „ 1/40's „ M' 

1/40's „ M* „ 1/40's „ M' „ 1/40's „ M' 

1/40's „ M' „ 1/40's „ M' „ 1/40's „ M' 

1/40's „ M' „ 1/40's „ M- „ 1/40's „ M' 

1 40's „ M' „ 1/40's „ M"' „ 140's , M' 

1/40's „ M' „ 1/40's „ M* „ 1/40's „ M 



30 skeins Saxony M' with 60's/2-fold silk 
„ M' „ 
,, M' „ 
„ M' „ 



2/40's Botany 

2/40's 

2/40's 

2/40's 

2/40's 

2/40's 

1/40's 

1/40's 

1/40's 

1/40's 

1/40's 

1/40's 



M^ twisted with 1/40's Botany M' 
M' „ „ 1/40's „ M' 



1/40's Crossbred M' 
1/40's „ M- 

1/40's Botany M' 
1/40's „ M- 



Crossbred M' with 1/40's Botany M' = 
M' „ 1 40's „ M' = 



M' 

M' 
M' 
M' 



1/40's 
1/40's 
1/40's 
1/40's 



M' = M' 

M' = M' 
M'=M' 

M'=M' 



M\ and 1/20's Crossbred M' 
M' „ 1/20's „ M' 



1/20's „ M' 

1/20's Botany M' 
1/20's „ M' 

1/20's Crossbred M' 



30 sks. Saxony M' with 60's/2 silk M' and 2/60's Botany M' 
„ M^ „ 60's/2 „ M' „ 2/60's „ M' 
„ M' „ 60's/2 „ M' „ 2/60's „ M' 
„ M' „ 60's/2 „ M" „ 2/60's „ M' 

2/30's Botany M' with 30 skeins Saxony M' 
2/30's „ M' „ 30 „ „ M' 

2/30's „ M' „ 30 „ „ M 



S"* 
M' 
H> 

M' 
M' 

M' 
M' 
M' 
M' 
M" 
M< 

M' 
M' 
M' 
M' 

M- 

M' 
M' 
M' 
M' 
M' 
M' 
M' 
M' 
M' 
M' 
W 

M'- 
M"- 
M' 
M' 

M' 
M' 



Series B. — Here yarns of different counts and qualities are 
combined. No. 4 is a compound of 1/40's Botany and 1/20's 
crossbred, both medium spun, and crossband or left-hand 
twisted in the folding. The yarn unit of the thicker diameter 
forms a distinguishing feature of the two-fold structure. This 
is emphasized in No. 5 where the Botany is 20's and the cross- 
bred 40's counts, and hence the greater contracting value of the 




Fig. 28. — Folded Yarn Speciiniens — Natural Size. 

264— (6e{. pp. 70 and 71) 



THE YARN UNIT 71 

Botany causes the latter to wave the surface of the folded 
yarn. Combining threads of the same counts (single 40's 
Botany, No. 6) and both flyer spun, yields a yarn of special 
evenness as to elasticity test and surface features ; while 
changing one of the units to 40's crossbred (No. 7) makes a 
more " wiry " yarn and one less smooth and equalized in 
formation. 

Series C. — Three-fold yarns are also typified in this series of 
specimens. First, three threads, in No. 8, of single 40's Botany, 
each openband twme and medium spun, are twisted together 
crossland twine, which gives a yarn of apparently a fuller 
diameter than yarn No. 9, consisting of like thread units but 
with the twine reversed in the twisting. The cause of this 
differentiation is a reduction in the turns per inch of the 
original threads in No. 8 in the folding operation, and the 
addition of twine in such threads in the folding operation in 
specimen No. 9. In yarn No. 10 a further element is introduced, 
one of the three threads is the reverse twine of the other two, 
and this thread receives a supplementary degree of twist in 
the folding work, whereas the spun twist of the two threads 
is diminished, hence the irregular or somewhat corrugated 
surface of the 3 -ply yarn. Reversing the twist in folding — 
(No. 11) enables the single threads of a corresponding twine 
to control the formation of the compoimd yarn, so that, 
though the gimped disposition is still traceable, it becomes 
less accentuated. In specimen 12 two of the single threads are 
crossband and one thread openband twine, with the folding 
twist agreeing with the former and opposing the latter. On 
the other hand in No. 13 the folding twist coincides with that 
of the third thread, reducing the turns per inch in two of the 
threads, making a softer but still a sUghtly waved-surface 
yarn. For levelness of structure No. 14 is suggestive, resemb- 
Ung No. 9 in the " folded " and " spun " twist being the 
reverse of each other, with, however, this distinction, the 
folded unit No. 9 is medium right-hand twine, and that of 
No. 14 medium left-hand twine. 



72 DRESS, BLOUSE, AND COSTUME CLOTHS 

Series D. — The selection of yarns made of different 
materials provides for the acquirement of the other qualities 
and types of compound threads. The four specimens (Nos. 15 
to 18) consist of two yarn units, namely, 30 skeins woollen 
and 60's /2-fold silk. Nos. 15 and 16 are both right-hand twine 
in the folding, which has increased the turns per inch in the 
30 skeins thread in No. 15 and developed the effect due to the 
silk, but subtracted from the twine ingredient in the 30 skeins 
thread in No. 16, and so far softened in structure as to partially 
conceal the 60's/2 silk thread. Imparting the twine in folding 
in the opposite way, and also leaving that of the " spun " 
twist unmodified in the woollen, produces similar compound 
yarns as seen in specimens Nos. 17 and 18. 

Series E. — These yarns are all of the 3-fold category, but 
Nos. 19 to 24 are formed of 2-fold 40's with single 40's ; and 
Nos. 25 to 30 of two threads of single 40's with one thread of 
single 20's. Further, in the first group, the yarn units are 
all of the Botany quality, but in the second group they include 
both Botany and Crossbred threads. Each specimen exempli- 
fies a principle and practice in folding. Nos. 19 to 22 are 
right-hand twisted in the doubling, with the 2-fold 40's threads 
left-hand twine, and the single threads modified thus : Nos. 19 
and 21 right-hand twisted and Nos. 20 and 22 left-hand twisted, 
with the threads Botany and Crossbred respectively. The 
difference, therefore, between 19 and 21 or 20 and 22 is caused 
by changing the quahty of the single yarn. This modification 
of the appearance of the folded yarn is the more noticeable in 
specimens 20 and 22, the former being the leveller and smoother 
thread. Specimens 23 and 24 are interesting as showing the 
alterations in the folded yarn caused by the single 40's being 
untwisted by doubling in the first, and supplemented in twist 
in the second instance, with the resultant diameter of the 
3-fold yarn perceptibly diminished in No. 24, and rendered 
more even in construction in No. 23. 

With the interchange of thread units from Crossbred to 
Botany and also in the counts, yarns of a still more varied 



THE YARN UNIT 73 

character are obtained. Analyzing specimens 25 to 30 will 
make this clear. Taking No. 25, a single 40's Crossbred (M') 
is doubled with a single 40's Botany (IVP) in the reverse twine 
or M' ; then this 2-fold thread is twisted with a 20's (M') 
in the same direction as the 20's yarn. There are here two 
processes of compound thread production, the 2-fold yarn 
consisting of threads of equal counts and corresponding twine, 
and of Crossbred and Botany quality respectively. With 
this yarn a third thread (Crossbred) is folded, and of the same 
thickness as the two single threads (40's) combined. This 
system of multi-ply thread making is also practised in speci- 
mens 26 to 30 inclusive. What originates the dissimilarity in 
the surface elements and in the evenness of the several com- 
pound structures, is the relation of twine in the single threads 
to the twine direction in the folded yarns. It will be observed 
that Nos. 28 and 30 are the more regular and even in con- 
struction. Their dissection shows that specimen 28 agrees 
with specimen 30 in the twist inserted in folding, with the 
single thread in No. 28 Botany, and in No. 30 Crossbred. 
Examples 27 and 29 also differ in the single thread units ; 
both are rippled but 29 is the softer in character. 

Series F. — ^These yarns consist of five threads folded into 
one, namely, of one thread of 30 skeins Saxony, one thread 
(= two single threads) of 60's/2-fold silk, and one thread of 
2-fold 60's (— two single threads) Botany worsted. The silk 
unit is emphasized in specimen 31, subdued in specimen 32, 
and has an intermediate effect in specimens 33 and 34. In 
each of these multi-fold yarns, the 2-fold 60's worsted is right- 
hand twine, hence, in the folding, the turns per inch in this 
thread are decrea.sed in Nos. 31 and 32, and increased in 
Nos. 33 and 34. The worsted is not, however, so assertive 
in shaping the characteristic of the folded yarn as the carded 
or wooUen thread. The latter, as a consequence of being 
softened in structure in the folding process in 31 and 34, and 
hardened in structure in 32 and 33, is responsible for the 
modifications in the type of the resultant yarn. 



74 DRESS, BLOUSE, AND COSTUME CLOTHS 

Series G. — The examples in this series are compounds of 
2-fold 30's Botany and 30 skeins Saxony, or of worsted and 
carded yarns of a similar wool quahty, and of, approximately, 
the same counts. They are typical of having, in folding, 
(1) the " spun " and " doubling " twist in coincidence, specimen 
35 ; (2) the turns per inch augmented in the woollen and 
diminished in the worsted ; and (3) the twine reduced in both 
the worsted and the woollen thread. The first practice yields 
a firm, the second a worsted, and the third practice a fibrous 
quality of folded yarn. 

61. Basic Principles in Folded-Yarn Construction — Fancy 
Twists. — The specimens examined exemplify the basic principles 
in folding two or more threads together as they are comprised 
(1) in the selection of yarns of the same counts, with each 




Fig. 29.- — Cotton Style with Thick 
Folded Warp Ends. 



thread twisted in a corresponding or in a different direction, 
and also in relation to the nature of the twine generated in 
the folding process ; (2) in the combination, under similar 
twisting conditions, of threads of dissimilar thicknesses ; and 
(3) in the use of threads varying in structure and in the 







.c%^^ 





Fancy Twis 

5264— (6e«. 2)p. 74 awrf 7 



mmm 




Fig. 30. 
Fancy Twist or Effect Yarns 



Fig. 30a. 
Fancy Twist or Effect Yarns. 



THE YARN UNIT -75 

materials of which they are spun. Multi-fold yarns in which 
three, four, five, or a larger number of threads of one diameter 
are formed into a thick thread for giving a fuller quahty of 
effect in the cloth than that characteristic of a single spun 
yarn of the required thickness, are also produced. Threads A 
in the striped and checked blouse texture in Fig. 29 are of this 
construction, being composed of five single threads of 40's 
cotton. Being more diversified in composition and in forma- 
tion than thick single threads of equivalent counts, they impart 
clearness of tone to the pattern details to which they are 
applied. Such multi-fold yarns are, however, distinct in 
structure from " fancy " twists, which are strictly " effect " 
yarns (Figs. 30 and 30a) or yarns which develop definite 
features in the woven fabric. The systems of production are 
set forth in the dissected particulars, supplied in Table VI, 
of the " effect " and fancy folded yarns illustrated in Figs. 
30 and 30a. 

TABLE VI 

Particulars of Dissected Fancy-twist Yarns 

(Figs. 30 and 30a) 

Specimen A. — Crimped or small Gimped Yarn consisting of a fine 
worsted roving and cotton thread twsted together, and afterwards 
retwisted in a contrary direction with a second cotton or binding end. 

Specimen B. — Accentuated Gimped Yarn formed of two roving 
threads slackly twisted one with the other, and subsequently refolded 
with a small cotton thread, the latter being delivered under tension 
and the former delivered loosely. 

Specimen C. — Looped Fancy Yarn obtained' by rimning a mohair 
thread mider easy tension and twisting it with a cotton yarn, followed 
by binding the two into one by folding with a further cotton thread. 

Specim,en D. — Flaked and Gimped Yarn made of a mohair ro\'ing 
and of a worsted or cotton thread with the mohair delivered inter- 
mittently, and to which a binding thread is subsequently added in 
refolding. 

Specimen E. — Curl Yarn produced by using a mohair or lustre 
worsted roving twisted mth a worsted thread, with the mohair so 
delivered that it may be drawn into curls by the " up-and-down " 
movement of the looping motion. For binding the two -fold thread 
thus acquired, it is retwisted, in the opposite direction to the initial 
twist, with a single cotton, worsted, or other yarn. 

Specimen F. — Knopped and Gimped Yam also three-fold in structure. 



76 DRESS, BLOUSE, AND COSTUME CLOTHS 

The knops are formed by twisting a mohair roving with a cotton 
thread, in which operation the mohair is intermittently delivered. The 
resultant two -fold yarn is then re twisted with a binder thread. 

Specimen G. — Slackly-twisted Waved Yarn — ^formed of a mohair or 
lustre worsted and of a Botany worsted or cotton thread, the mohair 
being in the process slackly tensioned. A degree of the twist imparted 
is reversed in applying the binding end in the refolding operation. 

Specimen H. — Similar to G but with still less tension applied to the 
mohair yarn in the process of twisting. 

Specimen I. — Knopped Yarn made, in the fu'st place, by twisting a 
mohair thread with a cotton thread, which, in the second place, is 
wrapped by reverse twisting with a cotton end. 

Specim,en J, — Similar to I without the use of the knopping motion 
in the first operation of twisting. 

Specimen K. — Flaked Cotton Twist. This is a two-fold yarn in 
which black and white threads are alternately delivered at varying 
speeds. 

Specim,en L. — In this Fancy Yarn two worsted threads are first 
folded and then retwisted with two small ends of a different colour, 
when the four-fold yarn is reverse-twisted with a single yarn. 

Specimen M. — Diamond or Chain Twist slightly knopped and 
consisting of one lustre thread and two fine cotton threads. In the 
first operation, a mohair and a cotton thread are combined, twisting 
from left to right, and in the second operation a second cotton thread 
is applied, twisting from right to left. 

Specim,en N. — Irregular small Curl or Loop Yarn formed of 
three threads, namely, lustre worsted and two cotton ends, and in a 
similar manner to specimen C. 

Specimen O and P. — Variations of Yarn N. 

Specimen Q. — Fancy Yarn acquired by allowing slubs of various 
colours to be run intermittently with the threads used in twisting. 

Specimens B and R^. — Slub Yarns usually made of two fine cotton 
threads in which condenser slivers are combined at regular intervals 
in the twisting operation on the same principle as in yarn Q, but the 
slivers or slubbings less continuously delivered. 

Specimen S. — Knopped Diamond Twist made in the same way as 
specimen J, but with the worsted roving knopped and the chain or 
diamond characteristic better developed. 

62. Folded and Multi-ply Ttvist Threads.— {See Figs. 30 
and 30a.) 

Gimp Yarns. — The ordinary types of these yarns are com- 
posed of two single-spun threads. Two- and three-fold speci- 
mens (Series A to G, Figs. 28) have abeady been referred to. 



THE YARN UNIT 77 

The gimped feature is developed in 2-ply yarns when the com- 
ponent threads are of hke or dissimilar counts but of opposite 
twine, as the twisting of the two into one yarn deducts from the 
turns per inch in one thread, and adds to the turns per inch 
in the other thread. As the disparity in the counts of the 
respective thread units increases, the gimped characteristic 
becomes accentuated, as will be observed in samples A and B. 
Thick and thin places are formable in the resultant yarn 
(specimen D) by delivering the single threads at different 
speeds during twisting, and allowing the degree of twine to 
remain constant. 

Curled and Gimp Yarns are similarly constructed, with 
one of the threads — mohair or lustre worsted — released at 
intervals by the rollers of the twisting frame, enabling the 
thread so treated to be drawn into loops or curls as seen in C ; 
or such intermittently delivered thread may be shaped into 
beads or knops, as in F. 

Corkscrew and Waved Yarns (G and H) may be slack or 
intermediate twisted and made of three separate threads, two 
being fine in counts and frequently cotton, and the third 
thread comparatively thick in counts and loosely spun from 
a lustrous class of material. The thicker thread is irregularly 
delivered, and in lengths corresponding to the dimensions of 
the " waved " or " looped " effect desired. 

Buckled or Looped Yarns (E) are a species of curl twist, 
with, however, the buckled details compactly developed in 
the length of the compound thread. 

Chain and Diamond Twists. — In these yarns (I, J and L) 
three threads are ordinarily employed, one forming a centre or 
core thread, with the two other yarns wrapped round it in 
reverse directions. Thread units of the same quality and 
diameter are combinable ; but, as shown in the specimens, 
they may differ in these respects and also in colour. The 
surface of the twist may, in addition, be knopped or curled by 
the thread made of a bright description of fibre. 

Flake Yarns. — Specimen K is a fine cotton twist of this 



78 DRESS, BLOUSE, AND COSTUME CLOTHS 

formation. Two threads are used, and these are freely 
delivered and checked in the delivery in succession, causing 
tight and slack-twisted lengths of twist yarn to be alternately 
produced. 

Three-colour Yarns. — As three threads are usable in 
these tmsts, they may be beaded, knopped (M), gimped (N, 0, P), 
or curled in construction. 

Slub Twist Yarns. — By selecting, as one component of the 
folded yarn, a condensed shver or slubbing, and by delivering 
this intermittently in the twisting operation, compound threads 
of the character illustrated at Q are obtainable. More diversi- 
fied yarns result from combining two or three shades or tints 
of slubbing and distributing these in the length of the twist 
in consecutive order. 

Irregular Twists. — From the principles of fancy yarn 
construction defined it wdll be understood that, with their 
modification or elaboration, a varied assortment of UTcgular 
and unclassified multi-ply twists are producible. Two exam- 
ples (R and S) are supplied, one of which consists of a 2-fold 
yarn wrapped with a third thread, and the second of a 3-fold 
yam in which one thread is utilized in forming a special group 
of effects. 

63. Fancy Yarns in Dress and Costume Textures. — These 
several descriptions and types of fancy twist yarns are adapt- 
able to the different branches of dress, costume, and blouse 
cloth manufactm-e. They serve a useful pm^pose in the 
warping or wefting schemes of goods and builds of fabric in 
which the staple yarn employed is spun from cotton, flax, 
wool, or silk, and also in admixed yarn textures. Two speci- 
mens have been described in Paragraph 19. In the fine 
worsted and cashmere fabric illustrated in Fig. 13 twists of 
the mohair knop structure are effectively apphed in the warp ; 
and, as explained, yield the essential pattern details, or the 
compacted strands of white fibre which, in the raising of the 
piece, streak the surface of the cloth with long, hairy filament. 
In the second example quoted (Fig. 14) gimp yarn of the 



THE YARN UNIT 



79 



character shown at A and B, Fig. 30, stripe the texture trans- 
versely. Other methods of applying such yarns are typified in 
Figs. 31, 32, 33, and 34. The 
first of these (Fig. 31) is a 
plain woven silk in which the 
gimped thread structure has been 
inserted in the weft for forming 
interesting lines across fabric. 
The use of an ordinary folded 
yarn of the same quahty and 
thickness in this way would leave 
the lines severe, and produce 
a monotonous textural style. 
Variegated knopped yarns, 

formed of cotton, linen, and of cotton and silk, are apphed 
to cotton blouse cloths on some such practice as indicated in 
Fig. 32, a fabric warped and woven thus — 

Tint A — Threads or Picks 8 8 S 8 

„ B— „ „ 8 - 8 20 38 20 

Fancy Yarn — „ ,, _'_'' — 

Here, and in all similar styles, the overchecking lines, in fancy 




Fig. 31. — Plain Silk 

Texture Lined with 

Gimp Yarn. 




Fig. 32. — Checked Blouse Texture with 
Effects in Knop Twist Yarn. 



80 DRESS, BLOUSE, AND COSTUME CLOTHS 

yarn, form the special and novel feature of the design. Worsted 
and tweed costume cloths present a fibrous surface on which 
to display the yarn structure and composition. This surface 

















/.i- -■. \ ■ 'i^'\ 


■■■<%-\ .• J-^-i ! 


1 ^ t > .- 







Fig. 33. — Crossbred Worsted Costume Cloth with 
Curl-Twist Yarn Effects. 

contrasts with the clear, bare surface in cotton and linen 
fabrics, and results in the twist threads being less distinctive 
in tone, inasmuch as they blend more satisfactorily with the 
plain or ordinary yarns with which they are combined. The 
examples in Figs. 33 and 34 are suggestive of the appUcation 




i iG. 34. — Donegal Tweed Costume Cloth with 
Carded Knop Yarn Features. 

of curl and knop yarns to two qualities of woven manufacture — 

one a Crossbred texture and the other a Donegal tweed. In 

the first, small curl yarns are used, and, in the second, knopped 

threads in which the knop is developed in the carding and not 

in the twisting operation. 



CHAPTER III 

SILK : THROWN, SPUN, AND ARTIFICIAL 

64. — Thread-like Structure of the Silk Filament. 65. — Superior 
Qualities of the Fibre, contrasted with Cotton. 66. — Silk and Linen 
Textures compared. 67. — Silky Lustre. 68. — Early Origin of Silk — 
Historic Data. 69. — Organization of the Silk Industry. 70. — 
Technical Terms applied to Silk Textures, 71. — Watered Moir^ Silks. 
12.- — Sources of Silk and Silk Waste Supplies. 73. — Seri-cultiu'e. 
74. — Filament Fineness. 75. — Classification of Cocoons. 76. — Silk 
Reeling. 77. — Winding, Doubling, and Throwing. 78. — " Waste " Silk, 
79.— Varieties of " Net " and " Waste " Silk Yarns. 80, — Different 
Qualities of Silk Waste. 81.— Gum Discharging— " Boiling-off." 82.— 
" Schappe " or " Steeping Practice." 83. — Routine of Spim -Thread 
Production. 84. — Softening and Conditioning. 85. — Filling Opera- 
tion. 86. — Dressing and Combing, 87. — Short Fibre and Noil. 
88. — Spreading and Lap Making. 89. — Drawing Operations. 90. — 
Roving. 91. — Spinning. 92. — Gassing, Cleaning, and Lustring. 
93. — Silk Yarn Specimens, 94. — The Nature of Artificial Silk, 95, — 
Early History and Present Production, 96. — The Basis Material. 
97.^ — The Chardonnet Process. 98. — The Cuprammonium Process. 
99, — The Viscose Process, 100. — -The Acetate Process, 101. — Quali- 
ties, 102. — Distinctive Tests. 103, — Relative Properties, Tenacity, 
etc, 104.— Relative Textile Values, 105.— The Treatment of Arti- 
ficial Silk. 106.— Dyeing, 107, — Sizing, Soft Finishes, etc. 108.— 
Storage and Effect of Moisture, etc, 109. — Winding. 110, — Spooling. 
Ill, — TAvisting, 112. — Warping, 113. — ^Weaving, 114, — Artificial 
Silk in Woven Fabrics, 115, — " Fibro." 116. — Defects in Fabrics. 
117, — The Trend of Development. 

64, Thread-like Structure of the Silk Filament. — Silk, unlike 
other varieties of material employed in textile fabrication, 
ali'eady possesses, in the natural state, the form and continuity 
of length of a fine thread or yarn. While other descriptions 
of fibre require to be subjected to mechanical treatment in 
order to convert them into a thread-hke structure, silk is 
emitted by the silk worm {Bombyx mori) as a continuous fila- 
ment and wound into an egg-shaped cocoon. Hence the silken 
thread or filament from such cocoons may be reeled from end 
to end, that is, from the beginning to the termination of the 

81 

6— (5264) 



82 DRES8, BLOUSE, AND COSTUME CLOTHS 

process of production by the worm, and in a similar manner 
as spun yarn is reeled for hanking purposes. The twin filament 
from a single cocoon is too fine and dehcate for ordinary use 
in manufacture, but by the combination in reeling, of the 
filaments from several cocoons, warp {organzine) and weft 
{tram or trame), silk yarns are acquired. 

65. Superior Qualities of the Fibre contrasted with Cotton. — 
As a textile filament, silk is superior in lustre, tensility, and in 
wearing efficiency, to either plant or animal fibre, and also in 
the fineness (counts) of the threads in which it is weavable. 
Its unique and superlative qualities are at once evident when 
textures made of cotton, linen, and silk are compared of a 
corresponding structure, thread diameter, and loom setting 
(ends and shots per square inch). The silk satin and damask, 
and the plain or twilled silk fabric, differ from cotton and linen 
fabrics of a like designation and construction. With the 
selection of mercerized yarns, the cotton sateen — warp or 
weft face, appears to approach the silk-woven tissue in lustre 
or sheen and in other technical characteristics ; but when the 
two textures are examined side by side for brightness and 
smoothness of surface, purity of colour, and kindness and 
quality of feel, the enhanced value of the silk manufacture 
is apparent. These differentiations in the features and pro- 
perties of the silk satin and the cotton sateen, are to be equally 
discerned in plain, twilled, and the common sorts of texture. 
One manufacture, the silk, has an unsurpassed softness, 
flexibility, evenness of surface, and brightness of tone, and the 
other, the cotton, though highly suggestive of these technical 
elements, only exhibits them in a comparative or lesser 
degree. 

66. Silk and Linen Textures Co7npared. — Extending the 
analysis to linens and silks, the contrasts between the woven 
products are likewise fully accentuated. Taking, for example, 
a typical damask, made, respectively, in silk and linen warp 
and weft yarns identical in counts, with the number of threads 
and picks in agreement in each, and both textures consisting 



SILK: THROWN, SPUN, AND ARTIFICIAL 83 

of one design scheme — the silk is firm and lustrous in structure, 
with the pattern details clearly visible, as a consequence of 
the distinction between the warp -face sateen in the ground and 
the weft-face sateen in the figure ; the linen is firmer and 
harder and fine in the make, but less lustrous, with the pattern 
details more subdued, as a consequence of the closeness of the 
relation, in effect, of the warp and weft weave units in the 
cloth. These obvious variations betwixt the fabrics have 
resulted in the use of silk weft in the finest classes of linen goods 
for the purpose of developing a superior richness of cloth, and 
of improved clearness of design delineation than is feasible in 
goods made of pure flax yarns. 

67. Silky Lustre.— The lustre in silk runs through the thread, 
being present in the larva of the Bombycid moth or silk worm, 
of whicli the filament is composed. Its lustre is, in this sense, 
distinct from that of cotton, flax, and wool. In the two former, 
lustre may be acquired by pressure appUed to the yarn or 
fabric, chemically prepared, as in mercerizing and in calendering 
for assisting the mechanical action, and rendering the "gloss " 
produced more permanent in nature. In wool, lustre is mainly 
a derivative of the outer scales of the fibre, and is, therefore, 
a superficial but natural quality of the filament, and one which 
varies in degree with the class of wool selected. The lustre 
in cotton or hnen is definable as a " glossy sheen " artificially 
induced. It is not inherent in the fibre as understood in the 
case of silk, which, after degumming, presents what is termed 
" silky," as distinguished from " metallic," lustre. 

68. Early Origin of Silk— Historic Data. — That a raw 
material of such adaptable and special properties for loomwork 
should have been used from early times is in keeping with 
inventive progress in the manufacturing arts. For some 
4,000 years silk-worm culture has been known and practised 
in China. The Book of Odes, compiled by Confucius about 
550 B.C., contains poems of a much greater antiquity, in 
which references are made to cotton, serge and other fabrics, 
but particularly descriptive of textures for silken wear. From 



84 DRESS, BLOUSE, AND COSTUME CLOTHS 

China the knowledge of seri-culture and of silk-reehng and 
throwing, and possibly also of decorative (harness) silk weaving, 
was transmitted through India to Persia, and from the latter 
country by Alexander the Great to Egjrpt and Greece, and 
thence to the Roman world. In the fourteenth to the 
seventeenth centuries, the art of silk fabrication, from the 
natural fibre to the woven texture, flourished in Florence, 
Venice, and Genoa, and in the South of France, and was 
subsequently stimulated in England by the settlement of the 
Huguenot weavers in Spitalfields, London. 

69. Organization of the Silk Industry. — The silk industry, as 
now organized, comprises in manufactured goods : (a) plain 
and decorative fabrics ; (6) lace, hand and frame produced ; 
(c) hosiery and knitted goods ; {d) embroidered, embossed, and 
printed textiles ; and (e) small-ware and passementerie tex- 
tures. In class (a) are found the different styles of dress and 
blouse cloths, first, in plain, twill, and other elementary 
weaves ; second, in coloured cloths ; third in spotted and 
figured fabrics, simple and compound in structure ; and 
fourth, in decorative robe textures of the brocade and 
pile- woven varieties. 

70. Technical Terms applied to Silk Textures. — ^Amongst the 
trade terms applied to silk manufactures, elementary in weave 
structure, the following may be mentioned — 

1. Plain-Woven Fabrics : Taffeta moussehne, taffeta 
chiffon, crepe de chine, glace, diaphanes, e.g. ninon, tulle, 
voile, marquisette ; moire or watered silks, e.g. moire onde, 
tabisse, seme de flammes, moire francais, moire antique and 
moires faconne. 

2. Cord or Repp Structures : Gros de Tours, gros de 
Naples and gros royale. 

3. Twilled Woven : Sarcenet (also taffeta make), surah, 
serge, and linings. 

4. Sateen Woven : Satins — yarn and piece-dyed — satin 
mousseline, peau de sole, satin lumiere, charmeuse, de Lyon ; 
sole radium, sole meteor, soliels, etc. 



SILK: THROWN, SPUN, AND ARTIFICIAL 85 

6. Cross or Gauze Woven : Chiffon gauze, mousseline, 
gauze, leno and striped and fancy gauzes. 

6. Velvet or Pile Woven : Velvets, plain, terry, fris6, 
Utrecht, velours de nord, velours chiffon, velours sabre, 
and different kinds of plushes. 

7. Coloured Silks or Fancies : Striped, checked, chine 
or warp printed, foulard, chiffon, etc. 

Mousselines, chiffons, and crepes include the light, soft, 
delicate tyjics of texture ; and diaphanes those of a semi- 
transparent character. Gros de Tours and all silk cord stuffs 
are repped or ribbed across. Sarcenet and twilled fabrics are 
firmer in the build than the moussehne, and are apphcable to 
linings. Irish pophns are a species of repp in which the warp 
is made of silk and the weft of wool fibre. Other silk unions 
comprise crepons, lustres, Sicilians, matelasses, and various 
sorts of velvets. 

The peculiarity — irregular crimpled appearance of silk 
crepes— arises from the practice in dyeing and dressing. A 
glutinous composition is, in the work, applied to the pieces, 
and this, in stiffening the threads, neutrahzes a degree of the 
twine inserted in their formation, and thus yields the textural 
property distinguishing this class of fabric. 

71. Watered or Moire Silks. — Watered silks are a further 
variety of plain goods. Their waved and indefinite figured 
character is obtained by passing two pieces, face to face, 
between a pair of pressure rollers, one of which is steam- 
charged and heated. However smooth and level the surface 
of a plain texture may seem, as it is formed by the interlacing 
of threads of warp and weft in alternate order with each other, 
it is, in reality, a grained surface, the fineness or coarseness of 
the grain coinciding with the diameter of the two series of 
yarns intersected. With the grain of one texture impelled 
into the grain of a second texture, while both are under 
tension, the minute unevenness in their surfaces is perfectly 
equalized. It foUows that, in so bringing two woven surfaces 
into absolute conformity, such areas of the surface of each 



86 DRESS, BLOUSE, AND COSTUME CLOTHS 

texture as are subjected to the severer pressure, receive and 
retain the brighter lustre, and, conversely, such parts of the 
two pieces as are lesser affected in the operation, necessarily 
assume a duUer lustre. These contrasts in lustrous tone, 
being irregularly distributed in waved Unes, and in nondescript 
forms, on the face of the fabrics, produce the so-called 
" watered " feature from which the goods derive their 
commercial designation. 

72. Sources of Silk and Silk Waste Supplies. — Silk-worm 
culture is industrially pursued in China, Japan, India, Persia, 
Turkey, Italy, France, and iVmerica. Japanese and Chinese 
silks have, in recent years, greatly improved in standard under 
the technical and scientific methods which have been intro- 
duced. The School of Seri-Culture in Tokio, is admirably 
equipped and organized, and the instruction imparted has 
raised the annual silk product of the country, and improved the 
efficiency with which Japanese silks are prepared for commerce. 
Chinese silks, known for their purity of colour and brilhant 
whiteness, are undergoing the same process of betterment. 
They, as those of Japan, are used in native textile manufactures, 
but are also extensively exported in the raw state to this country. 
Bengal silks are another important variety, the " country 
reeled " being, however, an inferior quality to the " filature " 
spun. The latter, in the better grades, enters into competition 
with European silk. Persia and Turkey are both silk pro- 
ducing countries, and, in this relation, are capable of consider- 
able development by the fuller adoption of European practices 
as applied to silk-worm rearing and silk reeling. The silks 
of France, Italy and Switzerland rank amongst the finest 
produced. Scientific investigation and technical training 
have secured for France the premier position in the production 
of the silk filament, in silk thread prej)aration, and in the 
manufacture of silk goods. 

The world's supplies of silk and " silk waste " are, however, 
mainly derived from China, Japan, and Italy, France not 
exporting the raw fibre, but manufactured goods ; and the 



SILK: THBOWN, SPUN, AND AUTIFICIAL 8? 

silk product of other countries — ^Turkey, Persia, Switzerland, 
etc. — ^is more in the nature of a supplementary than of a sub- 
stantial asset. As regards the United Kingdom, it acquires 
some 60 per cent, of its silk from China, with a growing supply 
from Japan. This restriction in the sources from which silk 
for British textile production is drawn, points to the desir- 
ability of Government measures being taken to encourage 
seri-culture in India and other parts of the Empire where the 
conditions are favourable. 

73. Seri-culture. — The eggs deposited by the silk moth are 
no larger than mustard seed. At first they are of a yellowish 
colour, but in a few days assume a blackish tint. Incubators 
are now customarily employed, in which hatching is effected 
in about thirteen or fourteen days. While in the caterpillar 
stage the skin is changed four times. The worm (which feeds 
chiefly on mulberry leaves) increases rapidly in size while 
the skin is soft, measuring at full growth from 3 to 3| ins. 
in length, and weighing some 75 grains. Hummel states that 
" the silk substance is secreted by two glands symmetrically 
situated on each side of the body of the caterpillar, below the 
intestinal canal. Each gland consists of three parts — a narrow 
tube with numerous convolutions, the veritable secreting por- 
tion ; a central part somewhat expanded and constituting 
the reservoir of the silk substance, a capillary tube connecting 
the reservou' with a similar capillary canal common to both 
glands, and situated in the head of the worm, whence issues 
the silk." 

When the spinning period is reached, the silkworm develops 
signs of restlessness and proceeds to construct a sort of rough 
scaffolding, fashioned of flossy material, by intertwining fila- 
ment with filament attached to adjacent points (twigs, etc.) for 
support. On this structure the labour of cocoon making is 
performed. The cocoon is approximately the size of a pigeon 
egg, the dimensions of the cultivated varieties being 1| in. by 
I in., of Tussur 1| in. by | in. and of certain wild varieties, 
3 in. by 1| in. Frequently the length of the have {= the brin 



88 DRESS, BLOUSE, AND COSTUME CLOTHS 

or two-filament silk thread) from one cocoon exceeds 1,100 ft. 
On gathering the cocoons, the chrysahs is destroyed by placing 
the cocoons in a heated oven {etouffoir or sechoir), raising the 
temperature sufficiently to destroy the worm without injuring 
the silk fibre. Should this not be done, the worm would 
gradually pierce through the silk coil and disrupt the length 
of the filament. 

74. Filament Fineness. — Under the microscope the fibre 
shows a great uniformity of diameter measurement, with, 
however, shght variations in the layers of filament on the 
inside and the outside of the cocoon. Chinese, Italian, 
Japanese, and Bengal filaments, when thus examined, 
presented the following comparative diameters- 



Diameter of fibre from outer 
part of cocoon. 



Diameter of fibre from inner 
part of cocoon. 



Chinese 
Italian 

Japanese ^- 
Bengalese ^ 



2150 

1 
2150 

1 



fractional part of an inch. 



1 
2150 

1 
2100 

1 



fractional part of an inch. 



1650 

1 
2200 



Considering that each filament from sound cocoons is a 
reelable thread, if the silk fibre could be woven into a texture 
without further doubhng, plain woven fabrics would be pro- 
ducible, constructed on the intersection basis of setting, with 
more than 1,000 threads and shots per inch. 

It has been estimated that for making 16ozs. of reeled 
thread, 12 lbs. of cocoons are required, and that these represent 
the total yield of from 2,800 to 3,000 silk worms, to supply 
which with food, during the caterpillar state, 150 lbs. of mul- 
berry leaves are consumed. The weight of silk quoted might be 
converted into 16 yards of silk texture {gros de Naples) of an 
ordinary grade, and some 14 yards of a superior quahty. 



SILK: THROWN, SPUN, AND ARTIFICIAL 89 

75. Classification of Cocoons. — All species of cocoons, when 
gathered, include a number of more or less imperfectly-formed 
structures, hence cocoons for commercial purposes are classified 
into the following categories : (a) Sound or good cocoons, 
which are not necessarily the largest, but which are even, 
compact, and free from external defects, so that they are 
normally windable without breakage ; (6) Pointed or irregu- 
larly-shaped cocoons, which reel satisfactorily until the point 
of the cocoon is reached when the filament, being unduly 
weak and attenuated, gives out. (c) Cocalons, which are 
usually of a larger size than the average cocoon, but softer 
and looser in texture. They have a disposition to " furze " 
more readily than sound cocoons, and for this reason are 
reeled separately, (d) Doupions or double- slmped cocoons, 
the fibre of which is liable to be meshed, maldng correct 
reeUng impracticable, (e) Soufflons, partially transparent 
cocoons of an open structure, or spongy in composition, and 
unfit for winding. (/) Pierced or perforated cocoons, and {g) 
Choquettes, or cocoons in which the worm has died in the work 
of thread production. These are classed as sound and faulty, 
the former being windable, though the filament lacks the brilh- 
ance of that from good cocoons, wliile the latter are unusable for 
reeling. Still further varieties are formed and designated 
Calcined and Royal cocoons. In the first, from the worm having 
been attacked by disease after the completion of its labour, the 
chrysaUs becomes petrified, or, in some instances, reduced 
to a powdered dust. The second, on account of the cocoons 
having been pierced by the breeding moths, are not reeled, 
but prepared with the soufflons and perforated cocoons. 

76. Silk-Reeling. — As described, the two-unit filament, 
obtained from each cocoon, is too fine and delicate in structure 
to be fit for manufacturing appHcation. On these grounds 
several filaments, or the products of several cocoons, are 
reeled together. 

The reehiig frame is simple in construction, ordinarily con- 
sisting of a trough or bowl in which the cocoons are immersed 



00 DRESS, BLOUSE, AND COSTUME CLOTHS 

in soft warm water ; of suitable guide and tensioning rails ; 
and of the reel for hanking the threads. The object of the 
water bath is to release the gummy matter, and facilitate the 
unwinding of the cocoon, the gelatinous substance retained 
causing the filaments to adhere to each other in the formation 
of the compound thread required. At the beginning of the 
operation the reeler presses the cocoons with a battage brush — 
made of fine twigs and even at the ends — into the tepid water, 
gently stirring them meanwhile. The loose fibres of the cocoons 
thus become attached to the points of the brush, from which 
they may be drawn through the fingers and cleared, of floss 
and other impurities. Taking four or more ends — the number 
varying with the sort of thread being prepared — they are 
passed together through the eyelet in the guide rail fixed above 
the cocoon bowl. Two such compound threads are then 
twisted with each other, to produce a cylindrical form of yarn 
as differing from a similar silk yarn in which the fibres lay flat 
or in a ribbon-like relation. Following this routine, the silk 
is wound into a skein or hank on the reel. Reeling is carried 
out to give any description of silk thread, such as that formed 
of the composite filament from one cocoon, and that made 
of the filaments from several to as many as 100 cocoons ; but, 
in ordinary practice, it is rare to exceed the amalgamation of 
more than thirty filaments in producing one thread unit. The 
balls of silk are not in the process run off to the extreme end, 
for the simple reason that the husk would be liable to foul the 
yarn. On nearing the completion of the silk, the chrysalis 
drops off the fibre, leaving the ball so much the lighter, which 
causes it to rise out of the water and come in contact with the 
guide rail of the machine. 

An even thread, one absolutely uniform in size, is an essen- 
tial object to be attained in reeUng. This necessitates care 
and skill in the work of production, inasmuch as the filaments 
of the different cocoons are not of equal diameters, or degrees 
of tenuity. The art of reeling consists in uniting such fibres 
as coincide with the fineness and quahty of the yarn required, 



SILK: THROWN, SPUN, AND ARTIFICIAL 01 

which is not strictly definable by the multiple of ends 
it contains as a thread formed of three, four, five, or six 
filaments, but as a silk thread consisting of 2-3, 3-4, 4-5, etc., 
fibres. 

77. Winding, Doubling, and Throwing. — Raw .silk is, before 
weaving, converted into one of three forms, namely : (a) 
Singles ; (6) trame ; and (c) organzine. The first may be 
reeled silk to which twist has been added for imparting 
tensile property ; the second and the third are made by 
combining several reeled threads, with the trame quality 
loosely twisted, and the organzine quality firmer twisted 
and in the reverse direction to the single threads of which 
it consists. 

The operations of silk-throwing and spinning include : 

(1) Winding from the reeled skeins or hanks on to bobbins; 

(2) sorting for quality after winding ; (3) twisting or spinning, 
and (4) folding and twisting the requisite number of threads 
into one of a suitable size and structure. In winding, the 
skeins of silk are run off the reels or " swifts "and wound 
on to bobbins laterally fixed in the winding machine. It is 
followed by twisting for giving " singles," the twist being 
inserted on the flyer principle of spinning. Should the silk 
be intended for dyeing^in the hank, the amount of twist is 
moderated. Singles, for organzine, are in the first operation 
twisted to the left, and then retwisted in the opposite sense. 
The doubUng of two, three, or other number of silk threads 
is next effected ; after which, bobbins of the two or multi-ply 
threads so prepared are mounted in the throwster frame. 
Here the threads, from two or more bobbins, are combined 
and spun into yarn which is deUvered in hanks. The twist, 
generated in the construction of the yarn, develops a 
disposition to crinkle in the silk. This crimpiness is 
ehminated by steaming the silk thread while extended on 
the swifts. 

The thread thus obtained is knoA\Ti as " hard " silk. It 
still contains the natural gum, which is useful in the operations 



92 DRESS, BLOUSE, AND COSTUME CLOTHS 

described on account of the adhesive quahties it gives 
to the fibre. The discharge of this gummy matter from 
the material is now done by boihng the skeins of thrown 
silk in a solution of soap and water, leaving the yarn soft 
and lustrous. 

78. Waste Silk. — The term is descriptive of pure or raw silk 
fibre. The material is not a by-product but a resultant of a 
certain filament obtained in the making of the cocoon by the 
silkworm, or in the preparation of the silk thread. What is 
termed " floss " silk is derived from the network of fibre 
covering the cocoon proper. It is therefore a material acquired 
in the cultivation of the silkworm for " net " or " thrown " 
silks, and also in the production of the " wild " varieties of 
silk of which the Tussiu' is suggestive. 

It has been shown that there is quite a number of sorts of 
damaged cocoons, the fibre of which is unreelable, and these 
constitute a second and important source of " waste " silk 
adapted for mechanical thread construction. Moreover, it will 
be understood that in reefing, winding, doubfing, throwing, 
and spinning, some considerable amount of waste fibre is made ; 
and that, by reason of the practices by which it accumulates, 
it will contain good and indifferent quahties, but largely the 
former. The sorts in which hard twisted ends and pieces of 
thread occur, necessitate great care in combing, unless the 
ends, etc., are picked out by hand. 

To the descriptions of fibre got from defective cocoons have 
to be added what are technically termed "Knubbs," or cocoons 
which have been entangled and formed into attenuated meshes 
of fibre, as well as the rough, coarse-looking hanks of silk, 
styled " Punjam Books," and which consist of silken yam 
which has been spoiled in the winding. The wild varieties of 
silk, in consequence of the cocoons being imperfectly developed 
and irregular in formation, are classed as unwindable, and hence 
yield an important " waste " staple, though not one of a high 
quality. 

79. Varieties of " Net " and " Waste '" Silk Yarns.— The 



SILK: THROWN, SPUN, AND ARTIFICIAL 93 

different varieties of silk yarns and the systems by which they 
are obtained are stated below — 

TABLE VII 

Vakieties of "Net," "Waste," and "Wild" Silk Yarns 

A. Net and Thrown Silk Yarns — ^frora 

(1) Degummed or boiled-off silks. 

(2) " Souple " or partially boiled-off silks. 

B. " Waste " or Spun Yarns — ^from 

(1) " Floss " gathered from all descriptions of cocoons. 

(2) Fibre from damaged cocoons. 

(3) Fibre from the manufacturing processes in the preparation 
of Net or Thrown silk yarns. 

C. " Wild " Silk Yarns — -produced by 

(1) Boiling-off or English system. 

(2) Steeping (Schappe silks) or Continental system. 

N.B. — In the making of the yarns in (B) and (C) there is a percentage 
of fibre or " noil " extracted in the combing process, which is valuable 
for admixture with other textile materials in union-yarn manufacture. 

SO. Different Qualifies oj Waste Silk. — Waste silks, being 
derived from such a diversity of sources, are necessarily of 
different quaUties. Referring, for instance, to the waste 
products from China and Japan, and to those from European 
centres, the former are generally in a harder and more meshed 
condition than the latter, arising from the custom in the Far 
East of pressing the materials, somewhat promiscuously, in 
bales. Chinese " wastes " range in colour from pure white to 
a clear yellow in the better sorts, and from a full yellow to a 
brownish fawn in the inferior sorts. European wastes are 
fairly free from foreign matter, and of a tinted grey or yellowish 
colour. The class known as filature waste, resulting from the 
processes of throwing and spinning, occasionally contain a 
portion of hard ends and bits of yarn. 

81. Gum Discharging, ''Boiling-off." — After sorting, for 
classification as to fineness and quahty, the first work is to 
discharge the viscid gum, which is done by two practices, that 



94 DRESS, BLOUSE, AND COSTUME CLOTHS 

of " boiling off " and. that of " steeping " or " soaking." The 
former is the older and the English method. It is carried out 
in large wooden vats or iron pans, circular in shape, Uke a 
dye vat, perforated at the bottom and steam heated. Having 
run into the vessel a sufficient quantity of water, 10 to 15 lbs. 
of sliced white curd soap are introduced, and the temperature 
raised till the soap is in solution. Some 100 to 120 lbs. of silk 
are now placed in the vat, either in the loose state, or in pre- 
pared canvas cotton cloth bags. The whole is then brought 
to a boil. The finer varieties of Chinese waste only require a 
small percentage of soap, and to be in the vat for a short time, 
but other kinds, such as the dark coloured wastes, require 
protracted treatment, or the boiling and cleansing to be 
repeated two or three times. Bluing or tinting of silk, if 
done, is performed in the final stage of boiling, by adding to 
the bath the diluted colouring ingredient. For removing the 
Uquid from the silk, the boiled silk material is passed between 
squeezing rollers, hydro-extracted and dried. 

82. " Schappe " or Steeping Practice. — The " Schappe " or 
" steeping practice " consists in placing the supply of waste 
silk ill jacketed pans, and pressing it firmly down, in which 
state it is retained by applying flatboards. Fermentation 
is induced by heating up the vessel periodically. After fer- 
mentation has continued long enough, the material is removed 
from the vessels, pounded, rinsed in clean water, and exposed 
in a suitable temperature for drying purposes. The idea 
in the system is to soften the silk without discharging the 
gum, whereas the idea in the Enghsh system, is a complete 
expulsion of all adhesive and gelatinous matter. In the 
case of the waste silks selected on the Continent, the practice 
is satisfactory. The softened gum left in the fibrils acts as 
filament " size " in the operations of dressing, combing, and 
thread preparation, reducing its diffusiveness, and rendering 
the " waste " less hable to work into " nibs " and hard " neps " 
of fibre. 

83. Routine of Spun-thread Production. — The routine of silk 



SILK: THROWN, SPUN, AND ARTIFICIAL 95 

waste or spun-thread manufacture comprises (a) softening ; 
(6) conditioning ; (c) dressing ; (d) spreading and lap making ; 
(e) di-awing ; (/) roving ; (g) spinning and (h) cleaning, gassing 
and lustring. 

84. Softening and Conditioning. — To prepare the " waste " 
for combing and dressing, it is, after discharging and drying, 
passed through the softening machine, containing six pairs of 
fluted rollers which successively rotate forward and backward, 
but with an accelerated forward movement. This has the 
effect of loosening, opening, and smoothing out the staple. 
The batch of material, having been thus treated, is " piled " 
in the conditioning chamber, where it is mechanically dewed 
or sprayed, or manually sprinkled with water. In this humid 
state the fibres acquire " condition " or an increased suppleness, 
flexibihty, and working fitness. 

85. " Filling " Operation. — Prior to being transferred to the 
dressing frame, the " waste " is dealt with in the filhng engine, 
consisting of a feed sheet — on which it is evenly distributed in 
lots of 3 to 5 lbs. — of feed rollers ; of a series of porcupine 
rollers or leather bands covered with porcupine (pinned) 
clothing ; and of a large cylinder mounted with twelve to 
eighteen combs. It is the function of the combs in the cylinder 
to gather up the staple as delivered by the feed rollers. When 
this has been done, the motion of the machine is interrupted 
while the attendant severs the di'aft of fibres on the respective 
combs ; turning their free ends backward. Tliis makes it 
feasible for hinged boards to be so operated as to grip the 
fringe of fibres. Tlien, by effecting a downward action of the 
boards, the " strippings " are taken in serial order off the 
combs, and the " fill " — i.e. drawn and straightened staple 
from each comb in the cylinder — is completed, which, in an 
eighteen-comb cyhnder, would be equal to the formation 
of this number of boards or " books " of fibre required in 
charging the dressing frame, 

86. Dressing and Combing. — The flat dressing type of 
machine has, in the first place, a frame A movable on its 



SILK: THROWN, SPUN, AND ARTIFICIAL 97 

centre (Figs. 35 and 35a), divided as shown into two sections, 
and which may be made to traverse inwards and outwards on 
the carriage B. Each section is arranged to take a " fill " of 
books from the preparing engine. These are fixed vertically 
in the frame with the fringe of fibres projecting above the 
extremities of the boards. Second, the machine consists of an 
endless belt or web to which are secured the sectional combs N. 
The belt passes tautly round the surface rollers R, R^, imme- 
diately over the frames, carrying the " books " of filament. 
The latter are, by the press cams, M, gradually raised, during 
the rotation of the web and its combs, until the whole length of 
the fibre has been treated or combed through, or the edges of 
the boards are nearly in contact with the pins of the combs N. 
At this stage in the work the press is automatically lowered, 
the frame turned on its centre, the carriage run out, and the 
process re-performed, with the object of the combing action 
being effected on the respective sides of the fibres successively. 
The combing pins in the first routine, move through the fringe 
of the material from left to right, and in the second, from right 
to left, and, in each instance, as the action continues, proceed 
from the ends of the fibres to the point where they are firmly 
held by the boards. 

Obviously only one portion of the lengths of silk fibre has so 
far been combed ; the dresser therefore removes the boards, 
a pair at a time, from the frame, taking one of the boards in 
the right hand on which the fibres are laid, and the other in 
the left hand, and neatly changes their position, presenting the 
uncombed section beyond the ends of the boards. Having 
thus reversed the strij)pings of material, and refilled frame A, 
the operation described is repeated. 

87. Short Fibre and Noil. — As in the combing of wool or 
cotton, one of the features is the effective opening of the 
clusters of short fibre, so in the practice of " waste " silk 
combing and dressing. In the second combing there are com- 
monly attached to the web sheet, narrow mdths of card 
clothing S, Fig. 35a, intermediate between the combs, which 

7— (5264) 



SILK: THROWN, SPUN, AND ARTIFICIAL 99 

have the effect of opening and levelling the more neppy 
fractions of filament. 

The dressed product obtained is described as the dressers' 
" strick," corresponding to a " strick " of flax in hnen yarn 
making, or to the lengths of cleared and equalized fibre ready 
for the preparing operations. There is a small percentage of 
fibre, which does not form part of the " stricks," such as that 
remaining in the pins of the combs. This becomes, when 
extracted, the silk " noil." A modern method of clearing the 
combs of this fibre is by means of a card-clothed cylinder U, 
Fig. 35a, a revolving brush V, and a pair of drawing-off rollers, 
W, which, as shown, have two positions, that in which they 
are operative and close to the drum, and that in which they are 
inoperative and indicated at Z. The unclothed division, Y, 
in the cylinder U, is the point where the thin layer of fibre is 
disrupted, and removed by the delivering rollers. Another 
method, in which this mechanism is not employed, consists 
in passing the " boards " across the web of the frame by hand, 
and behind the comb to be cleared, with the free ends of the 
fibres weU gripped between theu' smiaces. This strips the comb, 
or transfers the fibre from the pins of the comb to the boards. 

The first dressing, in this system of work, yields a " first- 
draft," the second dressing a " second-draft," and so on. Silk 
waste, furnishing successive drafts in which the fibre serially 
diminishes in length and weight of " strick," may be satis- 
factorily and advantageously treated to the lowest draft. 
Chinese " wastes " are of this class, while other sorts of " waste" 
drop off more suddenly in both fibre measurement and in 
quantity of result, and only consequently give a small number 
of " drafts." 

As each " draft " consists of an equalized length of fibre, 
it was at one time the practice to treat the several " drafts " 
down the drawing, in the production of different qualities 
of silk yarn, such as from the first, second, and other con- 
secutive " drafts." This is not now strictly done, admix- 
tures of two or more drafts being carried out. There is not 



100 DRESS, BLOUSE, AND COSTUME CLOTHS 

that degree of correspondence in filament length in the respec- 
tive " drafts " to establish this as a fixed economic basis of 
manufactm'e. Chinese silks, for example, will present fibre 
in the first " draft " of from 2 1^ to 6 or more inches in length, 
with fibre of from 1 to 3 ins. in the final " draft " made ; while 
ordinary descriptions of " waste " result in " drafts " I, II, 
III, and IV, varying respectively from 2 to 6, 2 to 4, 1| to 3^, 
1^ to 3, and from | to 3 ins. 

The flat dressing-machine described is also made in a con- 
tinuous form for increasing the productive output, when it 
compares, in this particular, more favourably with the circular 
construction of dressing frame employed on the Continent. 
The latter, which is suitable for " Schappe " treated waste silk, 
comprises (1) a large drum, whose circumference is divided into 
three or five sections, in each of which the rods of silk are 
inserted and turned by the dresser and his assistant ; (2) comb 
rollers, one on each side of the drum, and fixed in a lower 
position ; (3) comb brushes, and (4) drawing-off rollers for 
clearing the circular comb. The principle of action is similar 
but severer on the fibre than that of the fiat dressing frame, 
but it is found, as stated, adapted for the treatment of only 
partially degummed or steeped waste silk. 

The dressed silk is stripped from the rods in the cylinder by 
placing a cloth over the surface of the rods, with the prepared 
fibre projecting, and affixing it to a small roller. By turning 
this roller, the film of silk is wound thereon, one film of combed 
silk linking with another from adjacent rods, and giving what 
is designated a " nappe " of dressed silk. 

For the shorter varieties of silk fibre the Heilman combing 
machine may also be utiHzed. In principle of mechanism, and 
in method of adjustment and working, it is applicable to the 
straightening and ahgnment of the shortest classes of filament, 
and is for this reason used, to a limited extent, in the dressing 
of short silk wastes. 

The subsequent operations may be grouped into those for 
!ong-fibre thread making, including spreading and giUing, 



SILK: THROWN, SPUN, AND ARTIFICIAL 101 

drawing, roving, and spinning-flyer, cap or ring practice ; and 
for short-fibre thread maldng, namely, scutching, drawing, 
slubbing and spinning on the ring frame. The first system of 
operations will be examined. 

Spreading machinery is of three forms of construction known 
as the Open Screw Gill, the Intersecting Screw Gill, and the 
Rotary or Porcupine Roller Gill Spreader. The first is the 
older and commoner type, but is bemg superseded by the 
Intersecting Gill Box. Both the first and second types of 
maclu'ne agree in principle of levelhng the shver, but in the 
latter a second and ujjper set of fallers are introduced, whose 
pins work through the ribbon of fibres in a downward direction. 
The advantage derived is twofold ; the additional fallers 
prevent the fibres from riding on the surface of the pins, by 
penetrating them from above, and reduce the amount of 
filament leakage in the operation. The Rotary Spreader 
is built on the French or Continental plan, porcupine rollers 
taldng the place of the fallers, studded with pins, and 
traversing on screws between the front and the back rollers 
of the machine. 

88, Spreading and Lap Making. — The process will be de- 
scribed by referring to the illustrations (Figs. 36 and 36a) of the 
Intersecting Screw Gill Spreader. On the feed sheet A the 
dressed fibre is laid lengthwaj^s, with each spreading joining 
up with the preceding one, supplying a continuous and even 
layer of fibres to feed rollers B. These, and rollers D, have 
different circumferential speeds, causing the sliver of fibre to 
be drafted or attenuated between them. The fallers C move 
forward on the upper screw and travel backward on the lower 
screw, and the fibres, in shver form, are, therefore, drawn 
through their pins by the increased speed of rollers D as com- 
pared with rollers B. There passes over the lower roller D, 
and a second roller adjacent to che drum of cyhnder E, an 
endless leather belt by which the treated sliver is collected into 
a lap of the required thickness, when it is removed by the 
machine mincer. Such laps are further equahzed in length 




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Ph 
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SILK: THROWN, SPUN, AND ARTIFICIAL 103 

and weight on the re-lapper, during which the blending of 
filament qiiahties, for the construction of a definite class of 
yarn, may be done. 

The prepared lap of fibre is converted into a sliver in the 
Sett Frame, which is similar in arrangement to the Gill Spreader, 
having two pairs of rollers — ^back and front revolving at 
dissimilar speeds — and faller gills, with the addition, however, 
of winding-off rollers for conveying the sliver into a can. 



^ UlLLU 




Fig. 36a. — Section of Screw Gill Spreader. 

89. Drawing Operations. — The silk filament is now in a 
suitable condition for the drawing operations. Ten or twelve 
cans of sHvers are put behind the first head (four in number) 
of the Single Screw Drawing Frame (Fig. 37) and drawn out 
between the rollers A and B to a sHver sHghtly greater in length 
and somewhat smaller in thickness than the shver in the series 
employed. Intermediate between the two sets of rollers are 
the usual faller gills. In the complete box, with ten or twelve 
slivers fed into each of the four heads, there would be respec- 
tively obtained 10,000 and 21,736 doubhngs of the slivers in 
forming one final sliver product. With this amount of amal- 
gamation of shver units, as well as the measure of levelhng and 
straightening action of the faUers of each head, and also that 










■awaiofcatga^s"" " ' 






8ILK: THROWN, SPUN, AND ARTIFICIAL 105 

of the degree of attenuation to which the sUvers are subjected 
in passing from one pair of rollers to another, an even drawn 
sUver is ensured of the calculated fineness for giving the 
desired counts of yarn in the spinning process. 

90. Roving. — The shvers from the last drawing box are 
transferred to the Gill Screw Rover for further drafting by 
the same complement of parts, and for winding on to a bobbin 
by passing the " slubbing " round a flyer and on to the bobbin. 
This slubbing has a definite relation in counts (weight as 
regards length) to the counts of the yarn to be produced, that 
is, the smaller the slubbing and the finer the spun thread, and 
vice versa. Some degree of twist is inserted, just sufficient 
to form a thread structure adaj)ted to dandy roving and spin- 
ning. In this roving frame (Fig. 38) the gill fallers are dis- 
pensed with, but the drafting takes place as in Fig. 37, between 
the front and back rollers A and B, the lower roller, A^ being 
positively di'iven, and the smaller rollers c being carriers. 
Two or three bobbins, varying with the thickness of tlie roving, 
and the counts of the roved thread to be obtained, are placed 
in the creel D for supplying a roving to each spindle in the 
frame. 

91. Spinning. — Silk waste spinning is practicable on the 
self-acter (httle used on account of its compound action), and 
on the ring, cap, and flyer frames. Flyer-frame spinning is 
largely practised, and is similar in principle to this form of 
spinning in cotton and worsted yarn manufacture.* It yields 
an even, a smooth, and a true thread. The cap has a higher 
productive capacity, the spindles being, in some classes of 
work, speeded up to 9,000 revolutions per minute. Ring 
spinning is specially suitable for yarns consisting of medium 
and short fibre. The method of regulating the winding and 
twisting, by means of " travellers " of different sizes is in its 
favour. The type of machine employed is illustrated in 
Fig. 39. The spindles are mounted in the lower frame F^ 
and the " travellers " revolve on the rims of the ring frame F. 

* See Chapter V in Woollen and Worsted. 




<; o g> ca 



fcQf 



108 DRESS, BLOUSE, AND COSTUME CLOTHS 

This frame has an up-and-down traverse for distributing the 
yarn on to the bobbin. The driving of the spindles is done 
by tape or leather bands passing round the drum c, and the 
whorls of the spindles. The roving bobbins are grouped on 
iron pegs in the creel, the threads from which are passed 
separately between rollers A, the carriers C, and the front 
rollers B, and thence under the "travellers" on to the 
bobbins. The turns per inch imparted to the yarn are 
determined by the ratio of the yarn dehvered by rollers 
B, and the ratio of the yarn wound on to the bobbin 
or spool. 

92. Gassing, Cleaning, and Lustring — The excellence, 
quality, and value of silk yarns depending on their smoothness 
and brightness, it is essential that all surface nibs, hairiness, 
and inequahties should be removed. For this purpose the 
spun thread is cleaned, gassed, and lustred. Gassing is the 
principal operation to which the yarns are, in this work, sub- 
mitted. A view of the gassing machine, and also a section 
showing the arrangement for tensioning and gassing the threads 
are given in Figs. 40 and 41. The thread is taken from the 
bobbin D, and wrapped, as required, round the vertical cones E 
(see section at T), or as shown at R and S. Between the two 
series of cones is a bunsen gas jet F, and the path of the yarn to 
the winding spool is through the bunsen flame. The traverse- 
wound bobbin H, is driven by frictional contact with the drum 
K. On the breakage or discontinuance of the thread, the 
burner, F, is automatically moved on one side. If the yarn 
should be " nibby " and " hairy," and should need severer 
gassing, each thread is double-wrapped by being conveyed 
round one or more cones in both series. 

Brightness of thread is further developed by treating the 
hanks of washed and dyed yarn in the lustring machine, 
consisting of a pair of hollow cylinders, one of which is heated 
and belt-driven. The second cylinder is constructed and 
fitted in the framework so that it may be carried away from the 
first cylinder. As the hanks of yarn are stretched betweep 




W W 55 ^ 



0-'--_ 




SILK: THROWN, SPUN, AND ARTIFICIAL 111 

the two, the silk thread acquires increased straightness and 
smoothness, and improves in histroiis nature and quahty. 

93. Silk Yarn Specifnens.— These include specimens of 
" raw " or thrown silk (Fig. 42) of " waste " or spun silk 
(Fig. 42a) and of artificial silk threads (Fig. 42b). The first 
Fig. 42, are illustrated in organzine (Nos. 1 to 5) and in frame 
(Nos. lA to 5a), both in 29, 66, 132, 264, and 528 denier ; the 
second. Fig. 42a, in folded or warp twist (Nos. 1 to 7 in 80's/2, 
60's/2, 53's/2, 40's/2, 30's/2, 20's/2, and 15's/2), and in single 
or weft twist (Nos. 1a to 5a in 86's, 72's, 50's, 43's, and 27's 
counts) ; and the third, Fig. 42b, in warp twist (Nos. 1 to 4 
in 75, 150, 250, and 500 denier), and in weft twist (Nos. 1a 
to 4a in the same counts) ; with " sized " yarns at 1b to 5b. 

As the samples are reproduced to scale, they represent the 
actual and relative fineness and structure of the yarns in the 
counts quoted. The hanked samples of each yarn specimen 
give some idea of the lustre and diffusive properties of these 
three varieties of commercial silk. The artificial product 
possesses the higher degree of surface briUiancy ; the raw silk 
the higher degree of textile lustre value ; and the spun silk 
the higher degree of filament density. The lustre of the 
natural silk differs in quality from that of the artificial fibre. 
The brightness of one is rich and f uU, and of the other metallic, 
in tone. The spun yarn yields a soft species of texture, but 
one less distinctive in character than that producible in natural 
silk yarns. 

Each variety of thread is employed in combination with 
yarns made of other classes of fibre. The super-freshness and 
richness of the colour of the artificial silk, render it specially 
valuable in the manufacture of union dress, blouse, and fining 
fabrics. On the other hand, for the admixtm-e with worsted 
and wooUen yarns, the spun silk is well adapted. The mechan- 
ical practices by which it is constructed, as well as the variable 
lengths and grades of filament of which it is formed, cause the 
yarn to present a similar structural composition as yarns made 
of wool, cotton, or flax. In these essentials it differs from 



112 DRESS, BLOUSE, AND COSTUME CLOTHS 

either natural or artificial silk yarns (with the exception of 
" Fibro " silk, see Par. 115), which consist of filaments running 
through the length of the thread, so that the latter thread 
structure varies with the number of filament strands — of an 
indefinite length measurement — combined in the processes of 
doubhng, twisting, and winding. 

Thrown and artificial silk yarns are simple in structure, each 
filament used — of whatever fineness or tenuity— being of a 
thread-like length and formation ; whereas the spun silk yarn 
is compound in structure, being composed of fibres of different 
lengths, aligned with each other, and twisted together into a 
continuous thread of a prescribed diameter. 

The pecuhar brightness of tone which natural silk imparts 
to the surface of a woven fabric is apparent in the decorative 
styles in Figs. 6, 7, and 8, and also in textures made partially 
of silk and partially of other yarns, in the specimens shown in 
Figs. 5, 19, and 21. The diffusive lustre value of artificial silk 
is particularly noticeable in the gauze specimen (Fig. 42c), in 
which shots A have a ribbon-like character, and the cotton 
threads, D, an evenly-rounded formation. Where, in this 
example, picks A bend o«;er threads D they possess softness and 
smoothness combined with surface shimmer, and where such 
picks bend under threads D the individual fibres in the silk 
yarns scintillate and glitter. These quahtative textural tones 
obtain in all varieties of fabric in which artificial silk shots are 
successively floated over and under the warp yarns in the 
weaving process. Artificial silk yarns obviously yield textile 
characteristics allied with those developed in natural silk, 
with, however, a lesser refraction of fight, and hence the 
brilfiancy of the textures in which they occur. 

Artificial Silk.* 
94. The Nature of Artificial Silk. — Artificial silk is a fibre 
which, in its general properties, is unique, for while like natural 

* Paragraphs 94 to 117 on Artificial Silk, with Figs. 43, 44, 44a, 44b, 44c, 
44d, 44e, 45, 46, and 46a, are contributed by the late Leonard Wilson, F.C.G.I., 
F.I.C. See prefatory reference. 




4A 



Organzine. Trame. 

Fig. 42. — Specimens op Thbown Silk. 



8— (5264) 



ll 




Nos. 1 to 7 = Warp Twist Nos. lA to 5a = Weft Twist. 

Fig. 4:2a. — Specimens of Spun Silk. 






Warp 



526i- {bet. pp. 1 




Warp-Twist Specimens. 

"•^^-{bet. pp. 114 and 115) 



Weft-Twist Specijiens. 
Fig. 42b. — Artificial Silks. 



SlZKU Sl'I'XLMKNS. 



SILK: THROWN, SPUN, AND ARTIFICIAL 115 

silk — which is of animal origin — it consists of fine filaments of 
indefinite length, it has none of the characteristics of an animal 
fibre, but instead, with the one exception of length, it has 
those of vegetable fibres in general, being, as at present 
produced, either cellulose itself or a cellulose hydrate. 

In consequence, artificial silk can be used in the same 
manner as natural silk and treated like cotton ; it produces 




Fig. 42c. — Cotton-warp and Artificial-silk 
Gauze Structure. 

beautiful smooth lustrous fabrics which may be of almost any 
texture or weight, and when used either alone or in admixture 
with other fibres it may be dyed with the ease of cotton by 
means of either direct or vat colours. 

95. Early History and Present Production. — The history of 
artificial silk dates back to the suggestion of Reaumur, made 
in 1734, that, just as a silkworm produces fibres from its hquid 
secretion, so a similar product might be made artificially from 
solutions of resins or gums. 



116 DRESS, BLOUSE, AND COSTUME CLOTHS 

This idea, however, did not materialize until about 1885 
when Audemars applied for a patent for the production of 
silk-hke threads from a solution of cellulose nitrate. During 
the next six years, a great deal of work on these lines was done 
both in this country and abroad, and, in 1891, Compte Hilaire 
de Chardonnet began to manufacture at Besan9on about 
100 lbs. a day of cellulose nitrate silk, the output from this time 
increasing rapidly. 

The investigation which preceded and accompanied the 
production of silk from nitro-cellulose led, in 1890, to Despaissis 
taking out a patent for the use of a solution of cellulose in 
ammoniacal copper oxide ; nothing, however, resulted from 
this until Pauly, in Germany, took out his first patent in 1897. 
Many modifications of the Cuprammonium process were pro- 
posed and employed, and it formed the basis of the commercial 
enterprise carried on by the Vereinigte Glanzstoff Fab. Akt. 
Ges. of Elberfeld. 

These two processes, Nitro and Cuprammonium, each had 
a period of great prosperity ; the Chardonnet company, for 
instance, paid its maximum dividend, 60 per cent., in 1905, 
which fell to per cent, in 1909, largely due, no doubt, to the 
competition of the Cuprammonium process, which was then 
meeting with increased success and this continued up to the 
year before the war, when the Vereinigte Glanzstoff Fab. Akt. 
Ges. paid a dividend of 34 per cent. 

But before this time another competing process was in the 
field, and just as the first was almost wholly French and the 
second German in inception and development, so this last — 
one may state with satisfaction — was British from the dis- 
covery of Cross, Bevan and Beadle that cellulose would yield 
a soluble xanthate, to the production of Viscose silk in Britain 
on the present impressive scale. 

At the present time, the production of nitro-silk is very small 
and almost confined to Belgium ; cuprammonium has a very 
much decreased production, while viscose has increased to 
such an extent that nowadays viscose silk and artificial silk are 



SILK: THROWN, SPUN, AND ARTIFICIAL 117 

practically synonymous. The total output of the world is 
probably now about 40 tons a day, Great Britain, America, 
France and Germany being the largest producers, wliile lesser 
amounts are manufactured in Switzerland, Austria, Belgium, 
HoUand, Italy, Russia, Japan and Sweden. 

Processes employing substances other than cellulose have 
been proposed, and also several for the use of cellulose com- 
pounds ; none of these, however, has attained the position of 
a commercial fibre, although cellulose acetate silk is being 
experimented with on a considerable scale. 

96. The Basis Material. — The three processes which have in 
turn reached the stage of being commercial successes have at 
least one featm-e in common, namely, that they consist of and 
have for their starting material, cellulose, the substance which 
forms the main portion of aU vegetable fibres, and which, 
in other fibres, has stood the test of centuries. 

In the case of both the nitro and cuprammonium processes, 
cotton is the form of cellulose employed, but in the viscose 
process — although cotton may be used — the more abundant 
and cheaper form of cellulose, that obtained from wood, is 
almost invariably used with complete success. 

A short description of the manufacturing processes will 
bring out other points of difference. 

97. The Chardonnet Process. — The Chardonnet process con- 
sists first of the formation of nitro-cellulose by treating cotton 
with a mixture of nitric and sulphuric acids, followed, after 
purification, by solution of the nitro-cellulose in a mixture of 
alcohol and ether. 

This solution is formed into threads by squirting through 
glass jets into warm air, when the solvents rapidly evaporate 
leaving a sohd thread which is wound on to bobbins. 

The threads from a number of jets are gathered on to one 
roUer, the whole machine being covered with a hood through 
which the warm air is drawn to remove the solvent from the 
thread. The air is subsequently cooled to recover the solvents, 
but this is not by any means completely achieved, and the 



118 DRESS, BLOUSE, AND COSTUME CLOTHS 

loss of solvent constitutes one of the chief items of expense in 
this process of manufacture. 

In some modifications of the process, the nitro-cellulose 
solution is forced through jets into water which removes 
the solvent and forms filaments which are wound on to 
bobbins. 

The groups of filaments from which the solvent has been 
removed are next twisted to form a thread ; this, however, 
still consists of cellulose nitrate, and is extremely inflammable, 
, subject to slow spontaneous decomposition with complete loss 
of strength and, further, is not readily dyed in a satisfactory 
manner. These defects are removed by heating in a solution 
of alkahne sulphide, which almost entirely denitrates the fibre 
leaving it in the form of cellulose, in which state it is employed 
for textile purposes. 

This denitration considerably reduces the weight of the 
product and is, therefore, for two reasons, another source of 
considerable expense. 

The nitro process is now practically obsolete except for the 
Chardonnet factory at Tubize in Belgium ; in this country it 
was tried about twenty years ago at Wolston, near Rugby, 
but without success. 

98. The Cuprammonium Process. — This, as has been men- 
tioned, is almost entirely a German process, but it has been 
worked on a commercial scale by the British Glanzstoff Co., 
a company subsidiary to the Vereinigte Glanzstoff Fabriken, 
of Elberfeld, at Flint, North Wales, and in the Thiele 
modification on an experimental scale at Great Yarmouth. 

It is not now carried on at either of these places, however, 
operations having been suspended at the latter place, and in 
the former transferred to the viscose process. 

As in the nitro cellulose process cotton is the raw material 
employed for the production of Cuprammonium Silk, and is 
prepared by boiUng under pressure with caustic soda followed 
by bleaching. It is then dissolved by sthring in a solution 
obtained by dissolving copper oxide in ammonia. 



SILK: THROWN, SPUN, AND ARTIFICIAL 119 

This solution is of a dark-blue colour, and, when the cotton 
is dissolved in it, is of great viscosity. Threads are 
formed from it by forcing it through fine jets generally 
of glass into solutions either of acid or of strong caustic 
alkali, the groups of filaments being wound on to glass 
bobbins. 

The chemicals are removed by washing, and the thread is 
subsequently wound and twisted in the method described for 
nitro-cellulose. By the Thiele modification of this process, 
filaments of extreme fineness are obtained by drawing out 
during the coagulating stage. 

Owing to high prices of both copper and ammonia, of which 
the recovery is by no means complete, this process is relatively 
expensive compared with the later viscose process which has 
very largely supplanted it. 

99. The Viscose Process. — The Viscose process is, as we 
have said, the British contribution to artificial silk 
development and one of its important differences from 
other processes is that it starts with wood pulp as a raw 
material. 

This wood pulp is specially prepared from spruce by the 
sulphite process and is then converted by means of caustic 
soda into alkali cellulose. Then follows a treatment with 
carbon bisulphide which converts it into cellulose xanthatc ; 
this is dissolved in water forming a thick solution, which, after 
careful filtration to remove any undissolved portions, is forced 
through platinum jets into acid solutions. 

Each of these jets is perforated by a number of holes corre- 
sponding to the number of filaments which are to form the 
ultimate thread. 

On meeting the acid solution, the xanthate is decomposed 
and filaments of cellulose are produced. The method employed 
for dealing with groups of filaments at this stage is peculiar 
to the Viscose process and merits notice. 

The filaments, after being drawn from the bath, pass over 
a roller and from this drop into a raj)idly rotating centrifugal 



120 DRESS, BLOUSE, AND COSTUME CLOTHS 

box, the filaments are thus simultaneously twisted together 
and flung against the sides of the box where they pack into a 
ring or cake (Fig. 43), from which the thread is afterwards 
wound into skeins. 

The skeins, after this, are washed free from chemicals and 
bleached. 




Fig. 43. — ^Reeling from Cakes of Artificial Silk Spun 
IN A ToPHAM Centrifugal Box. 



100. The Acetate Process. — Besides the three principal pro- 
cesses which have been described, there are several which 
have, up to the present, attained little or no commercial 
importance. 

In some cases, an attempt has been made to use animal 
material and so to copy, to some extent, the composition of 
natural silk by means of gelatin, fibroin, and similar substances. 

In others, cellulose, but in different solvents from those 
described, has been used, e.g. cellulose in zinc chloride or 



SILK: THROWN, SPUN, AND ARTIFICIAL 121 

sulphuric acid, and compounds such as cellulose formate and 
ethyl cellulose have also been i)roposed, but none of these has 
met with any success. 

Cellulose acetate silk, however, has progressed farther than 
any of those mentioned, and although at present it is not 
obtainable in commercial quantities, preparations are being 
made to produce it on the large scale. 

The acetate itself is formed by the action of acetic anhydride 
on cellulose — ^generally cotton — and has been largely employed 
for the manufacture of aeroplane do]3e and non-inflammable 
photographic films. 

For the production of artificial silk it is dissolved in an 
organic solvent in the manner employed for nitro silk and 
the spinning and subsequent operations resemble this j)roccss 
also, except that there is nothing comparable with denitration 
since the acetate silk is not inflammable and the finished 
thread is not cellulose but a compound of this with 
acetic acid. 

101. Qualities. — The quahties which have commended arti- 
ficial silk — particularly viscose — to the public are, its lustre, 
which exceeds that of all other fibres ; its price, which is very 
considerably less than that of natural silk ; its excellent 
washing and wearing properties and the fact that it can be 
readily dyed in all shades and with fast colours. These 
characteristics have united to raise it to a unique position 
among textile fibres. 

Artificial silk is generally classified for commercial purposes 
according to the thickness of the thread into deniers, which, 
contrary to cotton counts, rise with increased thickness of 
thread, the number of deniers indicating the weight in grammes 
of 9,000 metres of thread. 

The appearance, as regards lustre and degree of whiteness, 
depends generally on the process employed or the factory of 
origin, but there is a further usually accepted standard of 
quahty of which the highest grade is described in England as 
" A " quahty, which indicates practically complete freedom 



122 DRESS, BLOUSE, AND COSTUME CLOTHS 

from broken filaments, lower grades being called " B " and 
"C." 

102. Distinctive Tests. — The tests which are used to identify 
the products of the different processes of manufacture are 
mainly chemical. 

The most easily distinguished is nitro silk, since the process 
of denitration which is used to reduce the inflammability of 
the Chardonnet product is never complete. The residue of 
nitrate which remains serves to identify the silk, which turns 
to a dark-blue colour when wetted with a solution of 
diphenylamine in strong sulphuric acid. 

Viscose and cuprammonium are not so readily distinguished 
for both are relatively pure forms of carbohydrate, but they 
can be recognized by pouring a small quantity of strong 
sulphuric acid upon the silk to be tested. Cuprammonium 
threads become yellow giving in a few minutes a straw-coloured 
solution which afterwards becomes brown, while viscose silk 
turns immediately reddish-brown. 

Acetate silk in strong acetic acid dissolves to a colourless 
solution which, on the addition of water, becomes turbid 
owing to the precipitation of cellulose acetate. 

The differences in cross section which are mentioned m a 
subsequent paragraph, also assist in the identification of the 
various threads. 

103. Relative Properties, Tenacity, etc. — The most important 
properties of artificial silk are strength, both when wet and 
dry, extensibility, affinity for dyestuffs, and capability of 
resistance to the various wet processes, such as washing, to 
which textiles are subjected. 

The strength is measured by the weight required to break 
a thread of definite size, and is expressed as grammes per 
denier, while the extensibihty is the percentage elongation 
which takes place before the thread breaks under the maximum 
load which it will carry. 

The following figures represent the approximate values 
obtained from both the poorer and the better commercial 



^ILK: THROWN, SPUN, AND ARTIFICIAL m 



qualities of each of the varieties, except that, in the case of 
acetate, the hmited number of samples available does not 
warrant a range of figures — 



Ten. Dry. 



Ten. Wet. 



Extensibility. 



Nitro. Silk . . 
Cuprammonium 
Acetate 
Viscose . 



0-75 - 1-4 
1-0- 1-35 

1-1 
1-2 - 1-G 



0-25 - 0-6 
0-35 - 0-55 

0-7 
0-4.5 - 0-7 



7-5- 16 
14- 18 

18 
11 -22 



In order to obtain a correct figure for the tenacity when dry, 
the measurements must be made under standard conditions 
of atmospheric moisture or a correction must be made to 
compensate for the variation from normal conditions. 

The resistance to wet treatment is measured both by the 
wet tenacity, i.e. the strength of the thread when thoroughly 
wetted with water, and by the weight of the thread which is 
soluble in weak caustic soda solution. With 8 per cent, 
caustic soda, the figures range between a solubihty of 10 per 
cent, for a good viscose and 80 per cent, for some makes of 
cuprammonium . 

From what has been said above it will be seen that viscose 
silk is in all respects at least equal to, and in most surpasses, 
the silk produced by other processes. 

104. Relative Textile Values. — The textile value of artificial 
silk depends, in addition to those properties which have been 
described, on its affinity for dyestuffs and its covering power. 

The affinity of silks of different makes for dyestuffs varies 
over a wide range, acetate silk, for instance, will not take up 
dirsct colours under normal conditions of dyeing, but absorbs 
basic dyes for which nitro sill?: also has a great affinity. 

The latter, however, is a form of cellulose, of which cupram- 
monium and viscose silks are still more typical, and therefore 
these three in their general behaviour towards dyestuffs 
resemble cotton. 

This, however, is by no means a complete statement with 
regard to the matter, for there is often a great difference in 



124 DRESS, BLOUSE, AND COSTUME CLOTHS 

the amounts of dye taken up by two varieties of silk if they 
are dyed together and direct colours generally are more readily 
dyed upon viscose than upon cuprammonium or nitro silk. 

The covering power of artificial silk is dependent chiefly 
upon the surface possessed by a given weight of thread, and 
this again upon the relation between the length of the peri- 
phery and the area of the cross section of the individual 
filaments of the thread. 

As regards the size of the filaments the cover increases as 

the size decreases in proportion to the diameter of the filaments, 

so that of two threads of the same denier, one with eighteen 

filaments and the other with thirty, the latter would have 

/SO 
about 29 per cent, more cover than the former, i.e. /— = 1 •29. 

The weight of the filaments, however, is not the only factor 
nor does the specific gravity of the various silks vary enough 
to be taken into account, but the shape of the cross section 
of the filaments is of great importance in this connection for 
since a circle is the form which has the minimum periphery 
for unit area, a filament with a circular section has less cover 
than a filament of any other shape, and the greater the departure 
from a round section the more effective is the covering power 
of the thread ; also with increased surface for the reflection 
of light, other things being equal, there is a correspondingly 
increased lustre. 

The bearing of these statements may be seen from the 
photographs (Figs. 44, 44a, 44b, 44c, 44d, and 44e) of cross 
sections of various types of artificial silk. 

It will be observed that nitro, cuprammonium, and acetate 
are all of smooth outhne, and that cuprammonium particularly 
is approximately round, while viscose is generally irregular 
and deeply serrated. 

This is the explanation of the superior covering power of 
the last-mentioned silk, and also of its greater lustre in 
comparison with other artificial fibres. 

The cross section of viscose silk, however, is variable over a 



SILK: THROWN, SPUN, AND ARTIFICIAL 125 

wide range, the controlling factors being the constitution of 
the cellulose xanthate and the composition of the coagulating 

Fig. 44. — Artificial Silk — Nitro Specimen. 




Fig. 44a. — Artificial Silk — Cupbammonium Specimen. 

bath in which the threads are formed. This enables the 
manufactm-er to choose such conditions that the thread pro- 
duced is the most suitable for the purpose for which it is 



126 DRESS, BLOUSE, AND COSTUME CLOTHS 
intended ; how widely the cross sections of viscose silk and, 









■■-,\ ■ 



^^;^\ ei 




Fig. 4:4b. — Artificial Silk — Acetate Specimen. 





n 



C^'Cp 
















Fig. 44c. — Artificial Silk — Viscose Specimen. 

therefore, its covering power and lustre may vary, are shown 
in the accompanying photographs. Figs. 44c, 44d and 44e. 

105. The, Treatment of Artificial Silk.- — Artificial silk, when 
sold, is usually sufficiently bleached for all ordinary purposes, 



SILK: THROWN, SPUN, AND ARTIFICIAL 127 

and it is, therefore, a mistake to combine it in a fabric with 
unbleached fibres and then to bleach in the piece, thus 




Fig. 44d. — Aktificial Silk — ^Viscose Specimen. 




Fig. 44e. — Artificial Silk — Viscose Specimen. 

subjecting the silk to a second and excessive treatment. 
Oxidation and partial destruction of the thread frequently 
result and, in some cases where this method has been employed, 



128 DRESS, BLOUSE, AND COSTUME CLOTHS 

as much as 30 per cent, of the silk has been lost and the 
remainder very much weakened. 

In the exceptional ckcumstances where a second bleaching 
is essential, it should be restricted to the minimum amount 
and carried out in a bath of sodium hypochlorite containing 
not more than 0-1 per cent, chlorine. The bath should not 
have an acid reaction and its temperature should not exceed 
20° C. 

Artificial silk should never be subjected to hot alkahne 
treatment as this causes the partial solution of the fibres ; 
viscose silk, however, resists such a treatment to a greater 
extent than the other varieties, as has been mentioned when 
discussing the properties of the different types. An alkahne 
water should not be used for finishing as this results in thread 
of inferior colour. 

106. Dyeing. — Artificial silk may be said, on the whole, to 
dye hke cotton, but this statement is too wide to be true in 
all respects. Nitro silk, for instance, has a considerable 
afifinity for basic dyestufEs without mordanting, in addition to 
its normal affinity for direct cotton colours ; cuprammonium 
and viscose, hke cotton, requne a mordant for the fixation of 
basic colours, but have a good affinity for dhect colours and 
for the vat colours commonly used for cotton ; untreated 
cellulose acetate has, imder ordinary dyeing conditions, very 
shght affinity for any of the cotton colours, but takes up basic 
colours readily. 

The direct cotton colours, owing to their wide range of 
shade, ease of apphcation and fastness, are the most commonly 
employed, and the general instructions issued by dye manu- 
facturers for the dyeing of cotton are apphcable to artificial 
silk also, but sodium sulphate is recommended in preference 
to other assistants, and the temperature of 65° C, which has 
been regarded as the highest permissible for artificial silk may, 
where necessary, be exceeded and even 90° C. may be used 
with advantage as, with some dyes, more even results are thus 
obtained. 



SILK: THROWN, SPUN, AND ARTIFICIAL 129 

For an even shade throughout a batch or piece of artificial 
silk in such cases the dyebath should be heated up to the 
temperature at which dyeing is to take place before immersing 
the material, and not heated up after the material has been 
entered as is the common practice. 

When fastness greater than that of the direct cotton colours 
is requu'ed, sulphur dyestuffs may be used with advantage ; 
these dyes are not quite so simple in appHcation, nor can the 
brightest shades be obtained from them, but their resistance 
to both Ught and washing entitles them to a more extended 
use than they have at present. 

For fabrics which have to withstand laundiy treatment 
there is no class of colours equal to the indanthrenes, in which 
may be obtained brighter shades than in the sulphur dyes and 
superior fastness which will, in the majority of cases, even 
resist a chlorine bleach, 

107 Sizing, Soft Finishes, etc. — Sizing is, in many instances, 
essential to the successful weaving of artificial silk, in order 
that the filaments may be held together when in the loom. 

Sizing takes place either in the hank or in the warp ; in the 
latter case, a special machine is employed which will size, diy, 
and beam in one operation. Whether sizing is carried out in 
the hank or in the warp, the results depend both on the method 
of application and the material employed, the latter being 
generally either gelatine or a form of starch. 

Whatever the adhesive employed it should be carefully 
ascertained that it gives a neutral solution, as the drying of 
thread containing either acid or alkali is very detrimental to 
its quahty and particularly to its strength. Soluble starches 
which are sold under numerous fancy names are the worst 
offenders in this respect, since they are frequently produced 
by heating starch with acid which, owing to indifferent 
after-treatment, is allowed to remain in the finished product. 

The temperature of the sizing solution affects its viscosity 
to a considerable extent, and the amount of size which a 
thread holds is dependent therefore on the temperature of 

9— (5264) 



130 DRESS, BLOUSE, AND COSTUME CLOTHS 

the bath as well as its strength ; when machine sizing a 
warp, a thinner solution is necessary than when sizing in 
the hank, in order that the threads may be separate on 
the beam. 

Sometimes a soft finish is required for artificial silk, and for 
obtaining this, an emulsion of pure soap and oleic acid is 
most satisfactory. This can be made by adding 21 lbs. of 
caustic soda solution of 3 per cent, strength to 10 lbs. of oleic 
acid, and stirring vigorously until a perfectly smooth cream 
is obtained ; a mechanical mixer is almost essential for this 
operation, which should be continued for at least three hours, 
and which results in a mixture of equal parts of soap and free 
oleic acid. 

For use, 16 to 20 lbs. of the emulsion are dissolved in 
100 gallons of water at a temperature of 35° C, the water 
employed for the solution being previously softened, as 
otherwise the lustre of the silk will be reduced. 

108. Storage and Effect of Moisture. — In common with all 
other fibres, artificial silk absorbs moisture from the atmos- 
phere, and this, under normal conditions, amounts to about 
11 per cent, of the weight of the thread. 

If, however, the silk is stored in a damp place, this amount 
of moisture will be considerably increased and the strength 
of the thread temporarily reduced, while its extensibihty will 
become greater. Thread used in this damp state will probably 
behave in an irregular manner and cause faults in the cloth 
owing to variations in the amount of contraction on drying. 

In the case of sized silk there is an additional reason for 
considering storage conditions, for it should be remembered 
that starch and gelatine rapidly deteriorate if not kept dry, 
and on this account, sized materials which have to be stored—^ 
for example, warps on the beam — should be kept in a dry 
ventilated store-room. It has not infrequently happened that 
complaints have been made of sized materials which on 
investigation have shown that damp storage has been the only 
source of trouble, with the result, perhaps, that the outside 



SILK: THROWN, SPUN, AND ARTIFICIAL 131 

of the beam has become unsized while the inner portion is in 
perfect condition. 

Artificial silk Avhich has been properly finished retains its 
quahty unchanged for a number of years, but should it contain 
impurities which are either alkaline or acid, a deteriorating 
effect is produced, and the silk becomes both tender and 
discoloured ; this has sometimes in the past been a serious 
defect in the case of nitro silk, of which some specimens have 
developed acid and eventually crumbled to powder. 

Variations in the amount of atmospheric moisture must be 
guarded against not only during storage, but also during the 
subsequent working of the thread. The cooling of the atmos- 
phere during the night and the consequent approach to satura- 
tion, will cause a warp left in the loom to absorb more moisture 
and to become slack, with subsequent unevenness in the cloth 
when woven. 

109. Winding. — Although for most manufacturing purposes 
artificial silk is used in some other form than skeins, it com- 
monly comes on to the market as skeins or hanks. The reasons 
for this are, first, that in the chief method of manufacture 
where viscose is spun into a Tojiham box, the thread is reeled 
direct into skeins from the cakes formed in the box ; second, 
for any after-treatment, such as dyeing, softening or sizing, the 
skein is usually the most convenient form to handle and lastly, 
for packing or carriage it is the form which occupies the least 
space. 

As a first step towards using thread which is in the skein 
form, it is almost invariably wound on to small wooden 
bobbins on machines similar to those used for winding silk. 
The skein is placed on a swift which is supported in such a 
way that it is free to run on its axle and above it the bobbin 
is fixed on a spindle by means of either a screw or spring, the 
spindle being driven by friction from the face of a wheel 
carried by a horizontal shaft. 

If the thread sticks, a frequent occurrence when winding 
dyed yarn from the swift, the pull of the thread is sufficient 



132 DRESS, BLOUSE, AND COSTUME CLOTHS 

to prevent the rotation of the bobbin until the winder is able 
to release the skein, this arrangement reducing to a minimum 
the number of breakages and consequent knots. 

The thread is led on to the bobbin by guides, which should 
be of smooth stone ware or glass to prevent breakage of the 
filaments, and they should be so arranged that the thread 
winds on to the bobbin without running up the sides. 

In the cuprammonium, nitro-cellulose, and acetate processes, 
the thread is wound from the glass bobbin, on to which it is 
drawn when first formed on to smaller wooden ones without 
bsing twisted ; these are then mounted on vertical spindles 
driven at a high speed, and from them the thread is di'awn on 
to other bobbins so that it is simultaneously twisted and 
wound. 

110. Spooling. — It is essential that thread, when put on 
spools, should be wound with regular tension, and, for this 
reason, it cannot be done direct from the skein as the pull of 
the s^\ifts is variable ; the thread therefore must be wound 
on the spool from bobbins. 

In order to obtain regular tension the spindle on which the 
bobbin is carried runs against a weighted friction brake and 
the thread passes to the spool over a tension spring and through 
a guide eye. All obstructions, such as knots, which would 
prevent the thread leaving the spool freely in the loom, must 
be avoided, as anything which prevents free running will cause 
tight picks and bright lines in the weaving. 

111. Twisting. — Like those of all other textile fibres, the 
filaments of artificial silk require to be twisted together into 
thread units before they can be used for weaving purposes, 
and it was formerly the practice to give the warp an 
additional twist, i.e. several more turns to the inch than 
weft thread. 

As, however, increased twist has the effect of reducing lustre 
this practice has almost ceased, and the twist of two and a half 
to three turns per inch given in the viscose process to the 
thread as it enters the Topham box, is employed both for warp 



SILK: THROWN, SPUN, AND ARTIFICIAL 133 

and weft. Instead of the filaments of the warp thread being 
held together by extra twist they are sized so that they adhere 
sufficiently for weaving, and, when the size is removed, their 
soft twist gives them increased lustre. 

For special purposes, there are very numerous varieties of 
warp twist according to the type of fabric desired, and a com- 
pound thread may be composed of two or more smaller threads 
twisted together to various extents. In some cases where the 
twist is to be dyed, it is wound directly on to reels from the 
throwing or twisting bobbins, so forming skeins, a method, 
however, which does not ensure such even twist as does 
twisting on to bobbins. To prevent the natural tendency of 
artificial silk to untwist if left dry, it is steamed before removal 
from the reel or bobbin. 

The dyeing of twisted thread is, as a rule, not entirely satis- 
factory owing to incomplete penetration of the dye, with 
resulting fighter coloured portions in the inside of the twist ; 
for this reason tlie thread is commonly dyed before twisting, 
although owing to the handling to which the skeins have been 
subjected during dyeing, they are generally more difficult to 
wind and so produce more waste. 

112. Warping. — The bobbins from wliich a warp is to be 
wound should be of equal weight and size, and free from 
rough edges. They should be so arranged on the creel that 
the thread runs from all of them mth equal tension and 
to obtain this result they must be placed so that the angle at 
which the thread runs is approximately the same for all the 
bobbins, and is such that it does not run against the bobbin 
flange, which would both increase the tension and tend to 
cause broken filaments. 

Where a sized warp is required with more than 1,400 or 1,500 
ends, it is, owing to the difficulty of machine sizing more than 
this number at once, made in several portions which are sized 
separately and dressed together, and the beam should be made 
quite hard, light beaming, however, being preferable for 
unsized warp. 



134 DRESS, BLOUSE, AND COSTUME CLOTHS 

113. Weaving. — The value of a fabric composed wholly or 
in part of artificial silk depends very greatly on the extent to 
which the special properties of the silk thread, namely, its 
lustre and freedom from broken filaments, are exhibited, and, 
therefore, it is of the utmost importance that these should be 
diminished as little as possible. 

To achieve this, care is, of course, necessary in all operations 
but especially in weaving where the thread is subjected to 
greater strain and more frequent friction. To obtain the best 
effects, the healds should be perfectly smooth and free from 
obstructions ; the reed and the warp on the beam should be 
of the same width and the reed should be fine, flexible, and 
smooth ; similarly, the shuttle and the shuttle race should 
be quite free from defects wherever the thread comes in 
contact with them. 

Great care must be taken to ensure an even tension upon 
the weft, since either slack or tight picks are serious defects 
with artificial silk, appearing as lines of different lustre from 
that of the rest of the material. To obtain a regular drag, 
and by this means the even tension desired, fur is commonly 
placed inside the shuttle. 

114. Artificial Silk in Woven Fabrics. — Artificial silk is 
comparatively rarely used alone in the manufacture of materials 
such as are described in this book, although for tapestries, 
ribbons, knitted goods, and other fabrics it is employed without 
admixture with other fibres, giving very beautiful results ; 
for light dress and blouse materials, it is used both as warp 
and weft in conjunction with cotton, wool, and, occasionally, 
natural silk. 

To produce woven pattern stripes in fancy voiles, it may be 
put in the warp with cotton, and since in this material a cotton 
weft is used, the percentage of artificial silk required to produce 
an effective pattern is often very small ; dyeing is carried out 
in the piece. In these and in similar cheap fabrics made with 
a weft stripe, it is common to find that economy in artificial 
silk has been carried too far, the threads, whether warp or weft, 



SILK: THROWN, SPUN, AND ARTIFICIAL 135 

being drawn too tight and a great deal of possible effect thus 
being lost. 

In another class of cloth, of which " Luvisca " may be cited as 
an example, the warp is entkely cotton and the weft all artifi- 
cial silk, striped effects being produced by coloured threads in 
the cotton warp, and the weaving pattern commonly adopted 
is arranged to keep the artificial silk chiefly on the face and 
the cotton on the back of the fabric. Materials of this type 
are eminently suitable for blouses and shirtings as, owing to 
their smooth surface, they resist soiHng, and if made from 
viscose yarn they will be unharmed by frequent laundermg. 

These, and the crepes, poplins, and numerous other fabrics 
into which artificial silk enters, together with other fibres, will 
be described in detail in another chapter. 

115. " Fib7'o." — Artificial silk has recently come on to the 
market in a new form which, although unaltered in its chemical 
characteristics, enlarges the field of its usefulness. Fibro, as 
the new product is called, is a viscose fibre, but instead of 
being a twisted thread composed of filaments of indefinite 
length, it consists of short fibres a few inches long which are 
spun into yarn by the various methods employed for the 
natural short textile fibres, particularly wool. 

The filaments are considerably finer than is usual with 
artificial silk, but are of equal lustre and resemble it in all its 
other properties, and, therefore, the new fibre affords a means 
of obtaining, in types of cloth which have hitherto been com- 
posed chiefly of wool, new effects with increased brilliance 
and lustre by using it either alone or in admixture. 

116. Defects in Fabrics (Figs 45, 46 and 46a). — The defects 
which occur in woven artificial silk materials may be divided 
into two classes : those caused by the silk, and those due to 
the methods by which it has been treated. 

It is not always, however, a simple matter to determine to 
what cause a defect is due : for instance, a fabric may contain 
many broken filaments and have a fluffy appearance, and this 
result be due either to subjecting a yarn of good quahty to 



136 DEESS, BLOUSE, AND COSTUME CLOTHS 

excessive tension, or to the use of a yarn the individual fila- 
ments of which varied greatly in size, a defect not uncommon 



% 



if 



A f 



^ 



Fig. 45. — Dyed Viscose Silk. 



l imn I ni 1 1 1' " 



r 



111 

I III. 
Ill I 



Kli 

!i»i 

« fit f* I II 
If If III 
9 illlll* 
fit 1 1 



Fig. 46. — ^Fabric Showing Variation in Nitro Silk Weft. 

in some Continental makes of artificial silk, with the result 
that reasonably moderate tension caused the breakage of the 
finer filaments while those of proper size remained undamaged. 



SILK: THROWN, SPUN, AND ARTIFICIAL 137 

Again, the production of bars of varying shades following 
the artificial silk weft of a cloth may be due to the thread 
having been dyed in batches which, owing to imperfect 
matching, are unequal in shade, or to the uneven affinity of the 
artificial silk for the dyestuff, or to the use by the weaver of 
artificial silk from different sources which would almost 
certainly have different rates of absorption of dye 

Other defects may be due to excessive tension, isolated 



I I'llni ri 

iill 1 11 
i i: i iJ> 1 I'll 

I f III I 11' 

"^ J I I t I •' 



Fig. 46a. — Texture Showing Effect Produced by 

Threads, the Filaments of which are Stuck 

Together. 



bright threads running through a fabric are often caused by 
irregularities during winding or spoohng, as has been men- 
tioned ; but where a fabric contains stripes of artificial silk 
woven to form a design, excessive tension on all the threads 
of the stripe reduces to a great extent the relief of the pattern, 
so losing much of the possible effect. Where the artificial silk 
is in the weft, a similar poor result is produced by excessive 
stretching in the stenter, in fact it has sometimes happened 
that the endeavour to obtain an inch or two more in the width 
of the material by stretching during finishing has resulted not 



138 DRESS, BLOUSE, AND COSTUME CLOTHS 

only in the loss of effect but also in the extensive breakage of 
the weft. 

117. The Trend of Development. — ^The lines of progress which 
are being followed in the manufacture of artificial silk are 
chiefly those which lead to improved qualities in the product, 
rather than to novelties either of form or appearance, and 
although a considerable amount of yarn is now manufactured 
with finer filament than formerly, the greatest change is to be 
seen in the improved properties of the product, so that par- 
ticularly as regards viscose, it now has an increased tenacity 
both in the wet and the dry condition, an improved resistance 
to treatment in the wet state, and a more regular rate of 
absorption of dyestuffs. The result of these improvements is 
to be seen in the extension of the uses to which artificial silk, 
especially viscose, is put. Ten years ago it was chiefly 
employed for braids, small knitted goods, fringes, and the like, 
a little only being used for weaving ; now, very great quantities, 
limited for the moment only by the output of yarn, are used 
both as warp and weft, alone or mixed with other fibres, 
white or dyed, for all classes of cloth, from very light dress 
goods to heavy tapestries for upholstery, and it would hardly 
now be safe to say that there is any class of fabric in which, in 
one form or another, artificial silk could not be used with 
advantage. 



CHAPTER IV 

THE YARN UNIT APPLIED 

118. — Scheme of Yarn Manufacture and Fabric Character. 119. — ■ 
Yarn Type and Textural Effects. 120. — Silk Threads relative to Fabric 
Features. 121. — Fineness of Silk Yarns and Weave Defuiition. 122. — ■ 
Development of Detail in Woven Silks. 123. — Linen Yarns and Weave 
Definition. 124. — Application of Smooth and Fibrous Yarns. 125. — 
Examples in Patterns obtained in " Foody " Yarns. 126. — Fi'ame and 
Self-Actor Spmi Yarns. 127. — Vakie and Utility of the Yarn Unit in 
Fabric Construction. 128. — Yarn Diameter and Fabric Types. 129. — 
Basic Principles of Loom Setting. 130. — Elements in Practical Setting. 
131. — Thread Coimts and Fabric Thickness. 132. — Textural Weight 
per Yard. 133. — Technical Practice and Yarn Counts. 134. — Varia- 
tions in " Warp " and " Weft " Settings. 135. — Coloured Effects and 
Yarn Diameters. 13G. — Pattern Contrasts. 137. — Comparison of 
Standard Cotton Yarns. 

118. Scheme of Yarn Manufacture and Fabric Character. — The 
" Yarn Unit," by reason of the nature of the fibrous or other 
material of which it is composed, determines the quaUty and 
style of the fabric woven. This accounts for the differentiation 
between cotton and silk textures when produced in the same 
size or diameter of yarns and with a similar number of threads 
and picks per inch ; or between linen, worsted or any other 
varieties of fabric of similar thread density, and consisting of 
warp and weft yarns of a corresponding thickness. 

In the case of wool, the character, handle, and appearance 
of the fabric are also modified by the system of yarn construc- 
tion adopted, such as woollen or worsted ; and, in the worsted 
system, by preparing and spinning the yarn on the English 
or on the Continental principle. The effects of the scheme of 
yarn construction are not so evident in the woven results in the 
use of other descriptions of fibre, though there are distinctions 
betwixt the cloths obtainable in frame and mule-spun yarns, 
and with cotton as the staple material. Thus two cotton 
textures, one made of the former type of yarn, and the other 
of the latter type, though the counts of warp and weft should 
be the same, and also the loom setting, would differ in quahty 
and smoothness of surface. The texture made of the frame- 
spun yarn would be the more even, and that of the mule-spun 

139 



140 DRESS, BLOUSE, AND COSTUME CLOTHS 

yarn the rougher, owing to the differences in the two varieties 
of thread structures. In so far as the system of yarn manu- 
facture aims at the parallehzation of the fibres in the processes 
of yarn preparation, the thread resultant gives the highest 
degree of fabric evenness which the raw material selected is 
capable of yielding. Similarly, in so far as the system 
practised intermingles all sorts of fibres in the material 
employed, crossing the fibres promiscuously as in carding, 
and forming them in a " slubbing '' and yarn in this mixed 
relation, a thread is produced which imparts a distinctive 
fibrous quahty to the fabric surface. 

119. Yarii Type and Textural Effects. — It follows, if the idea 
in fabric construction is clearness of textural detail, whether 
the result of " weave " or of " colour assortment," the type 
of yarn to be appHed is that in which the fibres are both levelled 
and straightened in the routine of thread- making. Should, 
however, the idea be a cloth soft and fibrous in character, with 
the fibres not only visible on the face of the texture, but with 
the fibres imparting fulness of handle, then the thread structure 
to use, of whatever material formed, is that in which the fila- 
ments are variously but homogeneously intercrossed and inter- 
sected with each other, as for example, in the carded and 
mule-spun cotton or woollen yarn. 

120. Silk Threads Relative to Fabric Features. These points 
in yarn structure are fundamental in manufacturing work 
appHcable to cotton, linen, worsted, woollen, and silk goods. 
Examining, for instance, silks (in which the effects of these 
distinctions in the yarns on the fabric may be said to be the 
least marked) it has been explained that if " waste " silk 
threads should not be satisfactorily cleaned and gassed, they 
suffer in briUiancy and smartness. A percentage of " flossy " 
filament adheres to the thread, and this, while in a degree 
rendering the texture soft and supple in the feel, detracts 
from the definition of the pattern details. It is not here a 
question of any difference in the principle of yarn maldng, but 
simply one of leaving certain fibres, which have not been 



THE YARN UNIT APPLIED 



141 



coherently formed into the yarn, on the outside of the thread. 
This extraneous filament proves detrimental to the smart 
dehneation of the textural style, and affects the wearing quality 
of the fabric. 

121. Fineness of Silk Yarns and Weave Definitioyi. — The 
ideal silk-thread structure is one perfectly clear of external 
fibre, or it is one composed — as in the reeled and thrown 
" net " silk yarn — of fibres compactly twined together. It is, 

d J d a h e 




m 



.iiiiiiifliiHiiim 



ir« 



/ a e fl c 

Fig. 47. — Silk Specimen Illustration of Weave 
Structure.* ^J-Scale. 

therefore, a yarn which closely approximates, in the effects it 
gives in the fabric, one made of metallic substances. Other 
classes of woven fabric are not comparable (Paragraph 55) in 
clearness of detail with those made of silk yarns. This is the 
more remarkable when it is considered that silk threads are 
the finest or smallest in diameter usable in the loom. In some 
fabrics the woven features are clearly pronounced as a result 
of the comparative thickness of the threads employed ; but 
in silks, these quaUties are solely due to the absolute evenness 
of the yarns. Fig. 47, a silk specimen, is illustrative of the 

* See lecture on " Textile Coloiu" Theories " hi\}\Q Textile Institute s Journal, 
and given by Professor Roberts Beaunaont at the Ghent Congress in 1913. 



142 DRESS, BLOUSE, AND COSTUME CLOTHS 

technicalities referred to. It contains 200 threads per inch, 
52 denier, or equivalent to 2-fold 200's cotton, the weft being 
70 denier, or equivalent to single 75's cotton. Each weave 
effect — weft cord in section a ; step twill in section b ; fine 
weft rib in section c ; step twill reversed in section d ; and 
warp cord in sections e and / — is clearly defined. The photo- 
graphic reproduction (Fig. 47) does not adequately show the 
degree of weave development, but the photo-micrographic 
specimens (Figs. 48, 49, 50, and 51) show that the various 
schemes of weaving combined are all effective units in the 
fabric. Moreover, these microscopic analyses make it evident 
that it is the quahty of thread formable of silk fibre which 
renders the diversified woven surface here acquired so 
distinctive in composition. 

122. Development of Detail in Woven Silks (Figs. 48 to 51). — 
Examining these photo-micrographic sections (Plans a', b', 
c', d', e' , and /', Fig. 47a) more closely, in the plain-rib a each 
thread is clearly traceable, and the interlacings of the threads 
in the formation of the fabric are also visible. When the 
weft, as in parts b and d, intersect with the warp threads in a 
varied order, the twilled characteristic, due to each shot of 
weft and thread of warp, is as well dehneated as if produced 
by the crossing of metaUic threads. The superior value of 
silk here, however, as a thread, when compared with one 
made of metal filaments, is particularly observed in the cord 
(portions a) where a compact weft surface is developed, with 
the shots of weft in such close contact with each other as to 
give an apparently unbroken filament surface. MetaUic 
yarn would yield the twilled distinctions in b and d, or the 
thread intersections visible in c, but its hardness and inflexible 
formation would not yield the surface features seen in this 
and similar specimens. 

The striped twiU fabric in Fig. 52 (Plan 52a), on account 
of its comparative simphcity of construction, emphasizes, in 
another form, the unique adaptabihty of silk yarns in express- 
ing weave features. Produced in 66 denier warp and weft, 



THE YARN UNIT APPLIED 



143 



with 160 ends and 140 shots per mch, the design is a diagonal 
make, angled, the formula for each pick of the diagonal being 
•^^ ^^^^ , with the twill and plain sections formed two shots 



gSSi2SE22§gg 


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Fig. 47a. — Weave Plans for Fig. 47. 



in a shed. All the weft elements are as precisely delineated 
in the specimen as if pen drawn. There is strictly, in this 
quaUty of Italian silk thread, no surface fibre, so that each 
species of interlacing in the texture is equally accentuated and 
rendered distinctive in character. 

123. Linen Yarns and Weave Definition. — The technicahties 



144 DRESS, BLOUSE, AND COSTUME CLOTHS 

explained make it obvious that, in applying the " Yarn Unit " 
for the purpose of acquiring the clearest degree of textural 
tone and pattern development, silk is the ideal thread struc- 
ture. Linen yarns, in the finer counts, give the nearest 
approach to silk yarns in defining weave details, as will be 




FiGo 48. 



understood from examining the three linen cloths seen in 
Figs. 53, 54, and 55. These bleached white textures, Uke the 
silk specimen in Fig. 52, derive their pattern or structural 
effects purely from the plan of crossing the warp and weft 
yarns in the process of weaving. No contrast in colour, or 
variation in tint between the two sets of threads, assists in 
bringing out the mat or hopsack (Fig. 53), the small diagonal 



THE YARN UNIT APPLIED 



145 



(Fig. 55), or the ribbed stripe (Fig. 54). The straightness, lack 
of diffusiveness, and length of the flax as compared with the 
cotton fibre, is the cause of the smoothness, compactness, and 
evenness of the linen thread ; and these special features of 
the yarn result in the more elementary, as in the more complex, 



#i».A* 



nHrffft 

iifiiff 



^^^"^^W!" ■?^^P4fl^^"W 



JW,i%ll»lJ4^: 



«. « r- 



'^X-A 









Fig. 49. 



schemes of intertexture, being effectively brought odt in the 
better varieties of hnen cloths. The sheen which the fabrics 
acquire in the finishing and dressing, particularly in bleaching 
and calendering, contributes to the purity and freshness of 
the textural tone, but the weave definition and accentuation 
are in a principal degree originated by the formation of the 
spun yarn, for this enables structural details to be clearly 

10— (5264) 



146 DRESS, BLOUSE, AND COSTUME CLOTHS 

defined in unbleached or naturally dressed as in highly -finished 
goods. 

124. Application of Smooth and Fibrous Yarns. — ^Another 
feature which enters into consideration is yarns made of 
either wool or cotton may be required to give — (a) clearness 
of fabric tone, and (6) a fabric possessing a fibrous face. Cloths 
with a soft finish — cotton or wool, flannelette in the former, 







Fig. 50. 

and costume fabric in the latter — are preferably obtained in 
yarns made on the carded principle. On the other hand, 
cloths, cotton or wool, with the face details clearly defined, 
necessitate the use of yarns in which the fibres, in the pro- 
cesses of thread-spinning, are combed, drawn, and frame-spun. 
Two types of thread, one with a clear, and the other with a 
more or less rough structure, are obviously producible. When 
selecting either one or the other for woven purposes, the nature 
of the fabric required has to be taken into account. The 



THE YARN UNIT APPLIED 



147 



subject may be explained by alluding to the specimens in 
Figs. 56 and 57, both made of worsted yarns, but French-spun 
in the first texture, and English-spun in the second. It will 
be noticed that in Fig. 56 the weave elements are subdued, 
while in Fig. 57 each twilled fine is observed. Some degree 
of the fibrous character of the French-yarn cloth is due to the 
piece having been contracted in milhng or felting from 70 ins. 




Fig. 51. 



in the reed to 54 ins, finished ; whereas the cloth made of 
Enghsh yarns has been set 63 ins. in the reed, and only shrunk 
in scouring. The finishing treatment, to which the two cloths 
were subjected after shrinkage, was, therefore, of a different 
character. In the EngUsh-yarn fabric, the object of the pro- 
cesses, especially those of brushing and cutting, was to remove 
all surface fibre, but in the French-spun yarn texture the 
fibre was brushed up, and the face of the fabric only slightly 



148 DRESS, BLOUSE, AND COSTUME CLOTHS 

cropped. The full filament structure of the French yarn 
(paragraph 48) is suitable for giving the quahty of cloth here 
illustrated, while the smoother and more even English-spun 
yarn is adapted for the clear definition of the twill or pattern 
details, and also for making a cloth with a bright, smart face. 
125. Examples in Patterns obtained in "Foody" Yarns. — It 
should be pointed out that, even in fibrous-surfaced yarns, it 






Pig. 52. — -Angled Diagonal — Silk Texture. 

is possible, by the system of cloth finishing practised, to get 
clearness of pattern type as seen in Figs. 58a and b. In these 
examples, woven in French-spun worsted and Saxony woollen 
yarns, distinctness of style has been acquired by raising the 
fibre on the face of the fabric, and following with clear cutting. 
The use of a " foody " quahty of thread in such manufactures 
is valuable in producing suppleness of handle and wearing 
durabihty in the cloth. Yarns of this structure are not 
adapted for the type of pattern of which Fig. 68 is illustrative. 
The weave requires to be of a simple description — plain, twill, 



THE YARN UNIT APPLIED 



149 



or mat, and compound or double in construction. For Fig. 
58a, double-plain makes have been combined, and for Fig. 58b, 
double-cassimere twills. One of the two plans used brings 
the odd threads and picks on to the face of the texture, and 
the other takes these threads and picks on to the back, and 
forms the face side of the texture in the even threads and picks. 
By arranging the warp and weft yarns 1-and-l in light and 



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Fig. 52a. — Sectional Plan for. Fig. 52. 



dark shades, in such positions as the first of the two double- 
weaves is used, the pattern is developed in the light colour, 
and in such positions as the second double-weave is used, the 
effects are woven in the dark shade. It follows that by group- 
ing two such compound or 2-ply weaves in a prescribed order 
they may be employed in developing any class of design — 
striped, checked, spotted, or figured — ^required ; but the effects, 
in all instances, are due to transposing the positions of the two 
shades of yarn in the warp and weft, and not to any variations 
in the textural plans. Both the face and the underside of the 



150 DEESS, BLOUSE, AND COSTUME CLOTHS 

fabric in Fig. 58a are plain woven, and in Fig. 58b twill woven — 
the first resembling an ordinary plain, and the second an 
ordinary ^- twill texture.* 















^ ' 








I 




I: 
L, ,„. 








FiG.i53. 



p. P ^ f^' h H 

^ - n P H 

," ^ 3 F! 

■ y ^ 9 g 



lii 




d d d d d 



iJJJl 



Fig. 54. 



d d d d 




Fig. 55. 
Types of Linen Fabrics. 



While, therefore, yarns of a fine woollen quality may be 
thus utilized in the manufacture of costume fabrics, to which 
the schemes of patternwork observed in Fig. 58b are applicable, 

* See ChajDter XIII. Colour in Woven Design. 



THE YARN UNIT APPLIED 



151 



they are not, unless 2-fold or hard twisted, selected for textures 
in which weave types are produced. 

The loose, entangled filament on the circumference of the 
carded thread (Saxony or Cheviot) subdues and partially 
conceals the detail effects resultiiig from the interlacing of the 
threads in a twill, mat, diagonal, or other order. On the other 




Fig. 56. 




Fig. 57. 
Worsted -Yarn Specimens. 



hand, the combed yarn (wool or cotton), and also the fine 
flax yarn, in which the fibres are grouped in a line with each 
other, as in the specimen of Botany top in Fig. 24, is the 
description of yarn to apply in all classes of di'ess goods when 
design definition and fabric smoothness are desiderate. 

126. Frame and Self- Actor Spun Yarns. — The system of 
mechanical practice in spinning has an important influence on 
the weavable value and characteristics of the yarn. Frame 
or continuous-spun yarns (woollen or cotton) present an 



152 DRESS, BLOUSE, AND COSTUME CLOTHS 

evener surface than self-actor or intermittent spun yarns. 
The filament core and external features of the thread may not, 
in the operation of spinning, be radically modified. These are 
formed and estabhshed in the process of yarn preparation. 
Yet the same sHver or slubbing, when converted into yarn by 
self-actor and frame-spinning, gives two varieties of thread 
structure. This is exemplified in yarns F (Fig. 59) continuous- 
spun, and in yarns M, intermittent spun. Both are composed 





Fig. 58. — ^Woollen -Yarn Specimens. 



of hke materials, and made from the same counts of condensed 
sliver. Threads F have a less " wild " formation than threads 
M. Necessarily these two yarn types are not so pronounced 
as if one yarn had been obtained from a combed roving, and 
the other from a carded and condensed sUver. The minute 
differences between the two are, however, equivalent to having 
a real effect on the handle and appearance of the fabrics in 
which they are respectively employed. For dress goods, made 
of either cotton or woollen carded yarns in which filament 
property in the texture is desired, with the pattern softly 
defined, the self-actor yarn is the more suitable ; and for 



153 

ollen 
arter 
inecl, 

ttriic- 

sug- 
i and 

ness, 
ture, 

from 
milar 
, and 
tural 
bing, 

►rma- 
ipted 
ty of 
ivarp, 

more 

)f the 

yarn 

dthe 

ies of 

3er of 

rly is 

Here 

isKns, 
loths, 
tiires. 
This 
>n the 




Fig. 59. — Self-Actor and Frame Spun Yarns. 

5264— (M. VV- 152 and 153) 



152 

evenei 
Thefi: 
in the 
formei 
Yettl 
self-ac 
struct 
spun, 



of like 
sliver. 

M. :^ 

as if c 
the o1 
differt 
a real 
which 
of eit; 
prope: 
define 



THE YARN UNIT APPLIED 153 

manufactures made of similar counts of cotton or woollen 
threads, in which the texture is required to have a smarter 
and clearer character, with the design elements better defined, 
the frame-spun quahty of yarn is preferable. 

127. Value and Utility of the Yarn Unit in Fabric Construc- 
tion. — ^The thread structm-es and quahties dissected are sug- 
gestive of the "Yarn Unit " having the following values and 
apphcations in dress fabric design and construction — 

(1) In determining the brightness, lustre, smoothness, 
clearness of tone, handle and quahty of the finished texture, 
as obtainable from the variety of fibre employed. 

(2) In developing differences in fabric features arising from 
the practice of standard systems of yarn preparation. Similar 
varieties of raw material, treated by carding, condensing, and 
self-actor spinning, give thread types of distinctive textural 
utility and value from the thread types produced by combing, 
drawing, and frame-spinning. 

(3) That the smoother, leveller, and more regular the forma- 
tion and circumference of the yarn, the better it is adapted 
for developing pattern elements acquired (a) by (hvcrsity of 
weaving scheme, and (6) by diversity of colouring in the warp, 
weft, or both warp and weft. 

(4) That the denser the thread in fibre, and also the more 
compacted the fibres in the yarn, though the surface of the 
thread may be serrated and rough, the more suitable the yarn 
for cloths intended for diversified finishing treatment, and the 
softer and more supple the texture manufactured. 

128. Yarn Diameter and Fabric Types. — In all classes of 
woven and knitted manufactures, the count or diameter of 
the yarn selected is a controlling factor, but particularly is 
this so in the production of dress and costume fabrics. Here 
the Ughtest descriptions of texture are made, as in mushns, 
crepe de chine, delaines, and gauzes. Taldng costume cloths, 
which represent the heavier classes of dress manufactures, 
these rarely exceed 10 to 12 ozs. per yard, 54 in. wide. This 
restriction in weight range has an important bearing on the 



154 DBESS, BLOUSE, AND COSTUME CLOTHS 

counts of yarn used. Fabric weight is regulated by (1) threads 
and shots per inch, and (2) by the size or circumference 
measurement of the yarns apphed in weaving. The common 
rule observed in loom-setting, or in fixing the gauge of the cloth, 
is the smaller the diameter of the threads, the higher the 
number of threads in a given area of the texture ; and, 
inversely, the thicker the yarns, the smaller the number of 
threads apphcable in a like area of the cloth ; hence, in the 
finer makes of fabric, cotton, and linen, from 110 to 180 
threads may be inserted per inch, and in silk brocades and 
damasks up to 300 or 400 threads. Ordinary makes of dress 
fabrics, however, such as lustres and pophns, etc., average 
from 60 to 101 ; worsteds from 32 to 80, and woollens from 
16 to 44, according to the counts of yarn applied. 

129 Basic Principles of Loom-Setting. — The basic principles 
of fabric structure, as observed in the plain make, the prunelle, 
and the 2 - twill, and in the ordinary classes of weaves pro- 
duced in silk, cotton, hnen, worsted, and woollen yarns, are 
exemplified in the Table VIII. 

Looming technicalities in all classes of woven texture, have 
elements in common. As the yarn counts govern the ends 
per inch, they also affect the fineness or the openness of the 
make of the fabric. Seeing that every sort of spun thread is 
of a definite diameter, and that this diameter is ascertainable 
by calculation, it follows that the denominator, as stated in a 
fractional portion of an inch, which the diameter represents, 
is equal to a number of threads, which, if laid side by side, 
and in contact with each other, would cover an inch. To 
take an example, single lOO's cotton, according to the rule of 
yarn diameters, is equivalent to VlOO X 840 = 261. That is 
without any allowance for extraneous fibre and degree of 
twine in the yarn, 261 such threads, when aligned with each 
other, measure 1 in., or the diameter of the yarn is -3^. The 
intersections of the warp and weft, as comprised in a repeat 
of the weave, deduct from this calculated number of ends per 
inch. Thus, in the plain, prunelle, and 2-and-2 twill weaves 






H 


Picks 
per 
inch. 


1 «DCO CD vncO COtC •* M CO 
1 op °P^ CDCDLftfMCD OCD OCO OOCO CD CD rH Ti4 

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COCOtMOGSt^OiO-^-^COOlC-l^rHOOSOOr^CDirS-^T^COrH 
(MC-lC'I(>3^rHr-tT-HrHrH,-HrHrH,-trHrH 


M . 1 50CD CD lOCD tOtO T»< M CO 
'0 l^A I CO OOtO COtOlOCJO OCO 0>OT OOCO «OCOrH-* 

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Ph .S oocofMoc5c^ioin'^'^c*:)(MC'].-<rHOOiXt^coiCTt<-^coi-) 

! (MrNC-KMrHT-HrHr-ii-HT-lr-lrHrHrMi-lt-l 


Hi 
P 


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o g o 

PL| .S 

1^1 


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1 4't^coiOTHcboicoirHcbcioiooi(Nii5obc!00(>idbi>-ii5 

iHO0500r-lO^C0C0(M(Mi-IOO0505t)0t^C0C0rl<-<llC00]tH 


iM 0000 CJ^ T|<(M -* -^eo TJIOOIMCO 
05tH tN^Cp CDC5COC<IOt^ CD 00 3^ 05 CD O M (M r-( CO 

'*oooiOiHcboioocbAco(»ino5(>iihcibroo65Nabt^ir5 


•«9S X „08 

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^CDCD-*S<I CO<N-*C<IOOIN (M-*00'*(M-*00-* CD^^I 
.TH-)<t^CacDrH<N050>-II>COOOCDm-#'l>fM(Mirai-l OOCOOl 
M'NcDi-iOO^(>Jt>TlicOOOt^I>05COO>-lOO-*t^t^(Mt^O>in 

2'7*■7l<^^=o■*lOt^t^QOaJoo^H^■cl^coooo■*cioocO!Ncoco 

^■HArHrHTHrHArHAlrH,H(N(r5!NM05l'ic0C0C0'*ir5C0dblb 


! 


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dm" 


t- mm 
CO -f 35 m t;- ,-1 ■>! i> -M m m w m f>] CO m M t> a. CO 

ojoim-iiMocbcoo!mrHc6o'ih.oii>rHmdboTHmrH(Nco 

t^i>cDmT)icor-i,-ioooosC5oocct^t^cDmm->*coeo(Ni-i 

r-lrHrHrHrHtHiHrHr-(rH.-t 


t^ mm 
CD -i<o!mt^ T-tr:.\ i>Timmwmc-ieom'>it~05co 
Osoim-i<'Nocbcocim.-<cD-fit^csit^rHm<»Or^m>H(>jco 

i^t-com-^corHi-HOOooiOoooot^t^commTticoeowrH 


'-' -OBJJ UI UJTj'X 

JO sja^a'uitJiQ; 


cooi^osop ■* «■* mm -^osmt-. m-*o>(NtH 
aimoobm.-isbcooocbiNcOTfimm'iicNOcDr-ioJi-Hebmcd 
m-*coooocDcO(Mr-(T-ioo»oot--com'*eoi-ioooi><o-*<M 

COCOCOCO0.|(MIM(N(N(NMrHi-lrHrHr-liHi-liHrH 


F 
Woollen 
Counts 
Skeins. 


j» ^tn jn vi m Ui yi 

CD Ol 00 CD O ^" 00 

mi,i.4f^'?">' 

CO -i' CO 5^1 OS CO 


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25 


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i-IO>00CDmT)<(Mi-(O500CDmT)<<M(McO-l(M 
(M rl rt rH r-l rt 1-1 rH rH QO 

S — — — — — = — • j^ j^ ' 

b w ^ CO 00 b i-j ^ CD X b T 1 -■'"• .''■• .■'■• '^ y Po 

(MOcccoooom-Mc: — -M r:;'Mr:co. 

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BO 


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bbiftombmbmbmbmbmb ^b co ^ 

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r-t 

S = = — — — — — — ' = — 

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bbmbmbmbmomomomo ^b co 
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rH -HrHi-li-li-100t^t^CDCDmmTt<'^COCOOJ'M»-lT-<t^COCOcO 

tc 11 mm mm mm 


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(Nr-lrHrHTHr-l.H,-lO300t^CDmT)<COOlrHrHCOM 

SToTS'im cTiN oTcTcToa (M (M M (N Si'oTSToTsi'S' 


1. 
33 


So 

<u oi m 

"S Ol t-- op ■*'*!^ '^C? CO COrH (>iM-*oom 

00 bcot^-*oicobmrHoocDmt^(MbcOtH4)<(>jdbAiibbo5 
<M cococo-*moi>i>oooooOTHcomt~r-icDm!MooocDoo 

r-li-lrHrHi-HMC-lCOmt^OOr-Oq 

r-im 


B 


•OK 
8nii09(Is 


rH !MCO'*mcOI>00050r-(<MCOTHmcOI>OOOJO'H(MCO-*m 
rHiHtHr-trHrHi-lrHi-lTH<M<M(N(N(N(M 



156 DRESS, BLOUSE, AND COSTUME CLOTHS 

quoted in Table VIII, the threads and picks per inch for lOO's 
cotton, are — ■ 



Plain make — 



Prunelle twill- 



s-i TWILL- 



261 (dia. lOO's cotton) X 2 (ends or picks in weave). 
2 (intersections in weave, threads or picks) + (2 ends 

or picks in weave) = 130*5. 
261 (dia. lOO's cotton) X 3 (ends or picks in weave). 
2 (intersections in weave, threads or picks) + 3 (ends 

or picks in weave) — 156* 6. 
261 (dia. lOO's cotton) X 4 (ends or picks inweave)- 
2 (intersections in weave, threads or picks) + 4 (ends 

or picks in weave) = 174. 

No allowance is made in these results for the true workable 
diameter of the yarns, which varies with the material of which 
the yarn consists, the diameter allowance added for silk being 
2| per cent., cotton and linen, 5 to 7| ; worsted, 7|to 10 ; and 
woollen 10 to 15. These percentages reduce the possible ends 
per inch, or the actual diameter of the yarn for weaving pur- 
poses, but have not been taken into consideration in framing 
Table VIII, in which the ends and picks per inch of the 
respective fabrics are stated as they would approximately be 
in the finished texture. By allowing the different percentages 
named on each yarn, the loom-setting for each example could 
be arrived at. 

130. Elements in Practical Setting. — In explanation of Table 
VIII, it should be stated that columns A, B, C, D, E, and F 
comprise the yarn counts, namely, silk, cotton, spun silk, 
linen, worsted, and woollen, or the principal sorts of yarn used 
in textile manufacture. Second, column G comprises the 
diameters of the threads in the respective counts, as acquired 
in all instances on the calculated basis. The adoption of this 
rule gives the diameters of corresponding sizes of silk, spun 
silk, cotton, linen, worsted and wooUen yarns as identical. 
For example, in No. 19 the theoretical diameter is given as 
^rYQ-^T for 264-1 denier silk, 2-fold 40's cotton, 20's 2-fold silk, 
2-fold 112's linen, 2-fold 60's worsted, and 65 skeins woollen. 
Actually, as explained, the diameters of these several sorts of 



THE YARN UNIT APPLIED 157 

thread, for cloth setting, would vary with the fibre of which 
they are comjDosed, and also in some degree with the system 
of thread manufacture practised. The more level the struc- 
ture of the yarn, and the harder its twine, the nearer to its 
calculated diameter. For practical purposes, by taking the 
threads per inch possible in the fabric as obtained from the 
diameters as representing the maximum threads per inch in 
the contracted or finished fabric, the comparative basis of 
weight calculation indicated in Table VIII would be satis- 
factory. The diameter of the yarn for setting in the loom, or 
for the average number of ends in the reed, and the shots per 
inch in the weaving of the fabric, requires to be increased in 
the ratio of the difference between (a) the calculated and the 
working diameter of the yarn, and (6) between the width of the 
contracted and loom-woven fabric. To take the counts of the 
yarn for specimen No. 20, with a maximum diameter of tq T' 
giving in the plain weave 50-5 ends and picks per inch, then, 
in the first place, for the loom setting, 2\ per cent, would be 
allowed on the silk, 5 per cent, on the cotton, 10 per cent, on 
the worsted, and 15 per cent, on the woollen, and in the 
second place, the degree of contraction estimated or allowed 
between the loom and finished widths, would also be taken 
into account. Regarding the latter factor, it is one determined 
by the quahty of manufacture intended. The settings illus- 
trated are such as would give a firm or normal build of fabric ; 
but, in practice, a fhmsy, loose, or super-flexible texture, as 
well as a super-hard and strong texture are producible. For 
the loose type, the setting fixed on the yarn diameter basis, 
less a percentage of allowance for the production of openness 
of fabric structure, would be made ; and hence for the firm 
type of fabric, the ends and picks in the loom, as determined 
by the rule of diameters and intersections, might be sUghtly 
increased. 

131. Thread Counts and Fabric Thickness. — It will now be 
apparent that in the exact ratio in which the diameter of the 
warp and weft threads is diminished, the " set " of the cloth 



158 DRESS, BLOUSE, AND COSTUME CLOTHS 

may be increased ; and, on the other hand, that in the exact 
ratio in which the threads are augmented in diameter, the set 
of the cloth may be decreased. Silk, as reeled from the cocoon, 
is a continuous thread, with a diameter of from , J^. ^ to , A „ 
part of an inch ; and, as shown in Paragraph 24, if applied in 
weaving in the natural size, would result in a plain interlaced 
texture of approximately 800 to 1,000 threads and shots per 
inch. In Table VIII, the finest silk thread specified, 28 denier, 
has a diameter of ^-5^—3", and hence, as indicated, is weavable 
in a plain fabric, having 179 ends and picks per square inch. 
Such a texture has a weight of 1-2644 ozs. per yard. Clearly 
this is not the lightest woven silk structure producible ; net 
or thrown silk may be used in smaller counts such as 20, 15, 
or 10 denier, with a relatively larger number of ends and picks 
per inch than the fabric defined in specimen No. 1 of this 
table. With the diminution of the size of the threads, the 
texture becomes more flimsy and gossamer-like in character. 

Cotton and linen yarns, for special purposes, may be spun 
to a higher diameter than indicated, such as ^^q ^o 5^ 0^0 P^^* 
of an inch, but the commercial standards rarely surpass 2/180's 
cotton, and 2/490's linen for warp and weft, though in yarn 
tables the counts are theoretically carried out to 600's (cotton) 
and 1,620 (linen), or the equivalent of 8,803 denier silk. 

132. Textural Weight per Yard. — The weight per yard of 
the woven product, when set on the intersection basis, rises 
proportionately with the size or thickness of the yarn employed. 
The data contained in Table VIII under this head are instruc- 
tive, and need to be dealt with. Plain textures, varying from 
1 •1214 ozs. to 1 '4062 ozs. per yard, 30 ins. wide, silk and cotton 
counts, are specified in 28 to 44 denier, and in 1/188's to 1/120's 
cotton. For textures ranging from 1"5401 ozs. to 1'7226 ozs., 
the counts of silk, cotton, and spun silk yarns are shown. 
For textures from 1-7792 to 2*2962 ozs. in silk, cotton, spun silk 
and linen, the counts quoted opposite examples 8 to 14 inclusive 
are suitable. In looming the fabrics (Nos. 1 to 14) the warp 
yarns would be 2-fold in cotton, spun silk, and hnen, but the 



THE YARN UNIT APPLIED 159 

number of ply in the silk would be in accordance with the 
quality of texture manufactured. 

Analyzing these yarn counts further, it will be seen that 
for cloths of 2-4354 to 3-08222 ozs., worsted, as well as silk, 
cotton, and linen threads, are usable. Finer counts of worsted 
are spinnable than specified, such as 2/140's, 2/160's, up to 
2/200's, but 2/120's and downwards arc the commoner count 
bases. The equivalent to 2/60's worsted (No. 19) in woollen, 
is 65-5 yarns per dram. Sixty skeins and higher counts of 
woollen yarns have been experimentally prepared by redrafting 
in the process of spinning, but for ordinary practice from 
44 to 48 or 50 yards per dram are the maximum. Hence, in 
the cloths averaging from 3-4424 to 6-2786 ozs. (Nos. 19 to 23) 
woollen, in addition to worsted, cotton, and hnen yarns are 
utihzed. Ordinarily, in the dress and costume trade, the 
extreme weight is reached in specimen 23, or as represented 
in a plain cloth made of 1 8 to 20 skeins woollen, and equivalent 
to about 6 ozs. per yard, 30 X 36 ins. 

While the silk threads are quoted in the lower diameter of 
yarns, their chief utility is in the counts included in Nos. 1 to 
18. Spun or waste silks may be economically employed in 
textures of a heavier quahty than the pure or " net " silks, 
or in such counts as enumerated in Nos. 17 to 21, with a more 
general application to the type of manufacture comprised in 
examples 10, 11, 12, and 13. 

133. Technical Practice and Yarn Counts.— The object in 
technical practice is to select and apply the yarn qualities in 
the counts in which they are standardized, adapting the loom 
setting to the weight and variety of texture desired. Silk is 
the kind of yam to employ in the production of the finest and 
Hghtest fabrics. Waste silk yarn, warp and weft, are apphcable 
to similar fabric structures as cotton and linen yarns. Cotton 
threads, as seen in column 2, Table VIII, to which might be 
added Unen, provide the fullest range in cloth manufacture, 
inasmuch as they are suitable for the construction of the finer, 
the medium, and the thicker grades of fabric. The worsted 



160 DRESS, BLOUSE, AND COSTUME CLOTHS 

yarns, of the Botany class, are largely applied in the production 
of fabrics ranging in yarn counts from 2/30's to 2/120's, and 
of the Crossbred class, ranging from 2/12's to 2/32's, with, in 
both types of fabrics, either 2-fold or single yarn for weft. 
The woollen yarns are obviously the best adapted for the 
heavier sorts of costume fabrics — Saxony quahties in counts 
from 20's to 44 skeins ; and Cheviot quahties, in 8 to 20 yards 
per dram. 

So far, fabrics in the plain weave only have been considered, 
but, in the Table VIII, settings are also given for the prunelle 
and the -^^ twills. These, with the plain make, form the three 
standard types of weave in the dress industry. For showing 
how the number of interlacings in the weave unit modifies the 
ends and picks per inch in the texture, reference will be made 
to the sectional sketches of these types of woven fabric in 
Figs. 60, 61, and 62. Taking a group of twelve threads in 
each cloth, the intersections on each pick are — ^in Fig. 60, 12 ; 
in Fig. 61,8; and in Fig. 62, 6. The fewer the intersections on 
a given number of threads, the larger the number of ends per 
inch possible in the loom in a given counts of yarn, which will 
be evident on comparing the ends per inch in the following 
examples from Table VIII — 



No. 


Diameter of 
the Yarn. 


Plain Weave. 
Threads and 


Prunelle. 
Threads and 


-2 Twill. 
Threads and 




Picks per inch. 


Picks per inch. 


Picks per inch. 


6 


261 


130-5 


156-6 


174 


8 


226 


109-1 


130-92 


145-5 


11 


202 


101 


121-2 


134-66 


13 


184-55 


92-27 


108-72 


123-06 


15 


156 


82-5 


99 


110 


21 


82-5 


4125 


49-5 


55 



The ratio of intersections in the respective weaves, causes the 
decrease in the threads per inch in a corresponding diameter 
of yarn ; or in the ratio of the decrease of the intersections 
between the textures in Figs. 60 and 61 and between the textures 
in Figs. 61 and 62. 



THE YARN UNIT APPLIED 



161 



To take a further illustration, say that of the 8-shaft 
sateen, Fig. 63, with 3 intersections on 12 threads, and apphed 
to 2/80's cotton, diameter j^j, it results in 132 threads per 
inch, as compared with 110 in the 2-and-2 twill, 99 in the pru- 
nelle, and 82-5 in the plain make, showing that as the number 



ABABABABABABABABABABA 







Marl 


cs 


depress 
















■^ 


■ 




J 




J 






J^ 


J 








T| 


^ 




■ 




; 






IT 


H 








J|| 


J 






^U 


1 














jjjL 


■ 




■ 




1 






jl 


1 












1 


■ 




" 




■ 






J 


u 




1 




1 






■ 


^ 














■" 


■ 




; 




1 






1 




2 
1 

2 
1 

2 




: 




n 


1 


n 




1 




I 


iB 


^ 


2 




■ 




B 




bC 


■ 


1 


1 


^ 


1 




d 


Ji 


LJ 



ABABABAB 




Fig. 



^ B .4 i? .4 B 

60. — Plain Fabric Structure. 



of the intersections decreases, the number of threads per inch, 
as represented by the diameter of the yarns, is approximately 
diminished. This imphes that the weight per yard of the 
fabric in any given counts of yam, though the setting may be 
correct and adopted to the weave structure, augments with the 
looseness of the plan of yarn interlacing. 

134. Variations in " Warp " and " Weft " Settings.— The 
specimens examined have been in fabrics woven on what is 

11— (5264) 



162 DRESS, BLOUSE, AND COSTUME CLOTHS 

technically termed the square, that is, corresponding in ends 
and picks per inch. In practice this rule is greatly varied. 
For economic weaving, it is common for the picks inserted 
per inch to be less than the threads per inch in the warp. The 
evener and better varieties of fabric may, as a rule, be produced 

CABCABCABCABCABCAB C ABC A B 





Marks lift 










J^^ 






~ ■ 1 ■ 






J_L^ 






1 U 1 ■■ 






L_M lpC^ 






■ ■■ 1 






\ ■■ 1 ■■ 






W M^ 






■ ■■ 






jjl\r 


2 


__L 


^jXu 


1 




H W^ 


? 

2 




NjJCL 


1 




■d 1 ■■ 1 


3 




9 




1 


^ Ml 1^ 



A BC A BC A B 




ABODE 

Fig. 61. — ^Prunelle Twill Fabric Structure. 



on the basis shown in the Table, which results, when the counts 
of the warp yarn are the same as those of the weft yarn, in 
textures of an equal tensile standard, and of wearing strength, 
in length and width. Either a variation in the setting of the 
two sorts of yarn (warp and weft) or in their relative counts, 
alters the fabric in these characteristics. The tensile standard 
may be equalized, in some degree, by increasing the thickness 



THE YARN UNIT APPLIED 



163 



of the weft yam in the ratio with which the picks, as compared 
with the threads per inch, are reduced, but the surface quahty of 
the fabric is motlified. A cloth, for example, made of 2/100's 
cotton in the warp and weft, with 92 threads and picks per 
inch finished, would, on comparison, be found to differ from 



Marks depress 



C D A nr D A B C D A B C D A B C D A B C D A B 




A B C D A B C D 

Fig. 62. — Cassimere or ^^ Twill Fabric Structure. 

a cloth in which the warp was 2/100's with 92 threads per inch, 
and the weft 2/60's with 72 picks per inch. Both cloths would 
be approximately of the same weight per yard, that is, of the 
same filament density, but the thicker counts of weft in the 
second cloth, though the picks should be proportionate in 
number with the difference in the diameters of 2/100's and 
2/60's, or in the ratio of 1 84-55 to 142-95, would change the cloth 
structure and quahty. Still, this method of fabric construc- 
tion, with a view of reducing the cost in weaving, and also in 



164 DRESS, BLOUSE, AND COSTUME CLOTHS 

manufacture, by employing in the weft a lower count of yarn 
than that used in the warp, is followed. The practice has 
another effect — it changes the character of the weave, especially 
if this is of a twilled type. In fabrics woven on the square, 
the angle of the common twills is 45°. By lowering the picks. 



Marks lift 



ABODE FGHABCDEF GHABCDEFOH 




ABODE FUti 



Fig. 63. — Sateen Fabric Structure. 



in comparison with the threads per inch, the lines of the twiU 
are elongated. Should, for instance, specimen 15, Table VIII, 
be woven in 2/120's worsted with 110 threads per inch, and 
wefted with 40's worsted, 80 picks per inch, the -^- twill angle 
would be changed from 45° to one of about 70°. In a plain 
weave, this alteration of the picks, relative to the ends, also 
modifies the fabric character. For example, a spun-silk 
texture, No. 6, with 130 warp ends per inch, woven with 50's 
cotton and 92 picks per inch, would give a repp or cord texture. 



THE YARN UNIT APPLIED 



165 



The production of cloths on this basis, that is, unbalanced in 
the warp and weft setting, is practised in different branches of 
dress manufacture, especially in cloths of a rejjp, poplin, and 
a hke character. 

135, Coloured Effects mid Yarn Diameters. — The manner and 
degree in which the counts of yarn modify the pattern develop- 
ment, resulting from the grouping of coloured yarns in the 
warp and weft, will be explained by comparing the textural 
styles in Figs. 64, 65, 66, 67, and 68. They are respectively 
woven in silk, cotton, linen, woollen and worsted yarns, and 
the several effects are produced in the plain weave. The orders 
of the colourings are as follows — 

Silks. Fig. 64— A, B, C, D, E, F, G 



A- 


- Warp 


; White 6 6 


1 


1 1 1 


1 






Black 4 2 


1 


1 1 1 


1 




Weft : 


All Black. 








B- 


- Warp 
Weft : 


; White 6 
Black 4 
'SVhite 4 
Black 








C— 


- Warp 

Weft : 


; White 9 3 
Black 3 3 
White 10 2 
Black 2 2 








D- 


-Warp 


atid Weft : White 
Black 


6 
16 






E- 


- Warp 


and Weft : White 
Black 


8 
20 






F— 


- Warp 


and Weft : White 


8 


8 








Black 


2 


10 




G— 


- Warp and Weft : White 


4 










Black 


4 







Cotton. Fig. 65 — ^A and B 

Specimen A — Warp and Weft : White 8 

Black 8 
40 

B— Warp and Weft : White 2 2 2 2 2 2 2 
Black 2 2 12 2 12 2 12 



lA 






a a a a a a a a a a a 



l»Bi««i««#''!l?- 

I II M folia 










E 






HJ^H^^^^^^^^^B 


1 


^HB 




1 


H^^H 




X 


■BBflBHI 















■I 




■i Ml fe§ is ■.■ . ■■ -#■ 


■1 




II 


I 


1 


"■ :. • :": n :[ .i- :: 


11 




II 


1 


« 


II 


















l« II 11 II 11 11 SI 


■I 




■I 


• 


i 


■1 

11 




' 19- ' CI ■■ ■■ urn 11 -SK 


II 




■■ 


■ 


I 



Fig, 64. — Coloured Silk Styles — ^Plain Woven. 



THE YARN UNIT APPLIED 



167 




Fig. G4g. — Silk Coloured Style. 



Linen. Fig. 66— A, B, C 

Specimen A — Warp and Weft : White 3 

Black 3 

B— Warp and Weft : White 4 

Black 2 

C— Warp and Weft : White 5 

Black 5 



Woollen. Fig. 67 — A, B, O, D 

Specimen A — Warp and Weft : White 2 

Black 2 
„ B— Warp and Weft : White 4 

Black 4 

C— Warp and Weft : ^Vhite 6 

Black 6 

„ D— Warp and Weft : White 8 

Black 8 



Worsted. Fig. 68 — A and B 

Specimen A — Warp : White 15 15 1 1 
Black 3 113 
Weft: All White. 
„ B— Warp and Weft : Black 11112 2 4 

Grey 11112 2 4 
White 11112 2 4 



The yarn counts, ends, and picks per inch, and approximate 
weights per yard (30 in. X 36 in.) of the different siDecimens, 
being typical of the influence of the diameter of the loom setting, 



168 DRESS, BLOUSE, AND COSTUME CLOTHS 

as well as of the fineness of the texture manufactured, are 
tabulated below- — ■ 



Specimens. 



Yarn Counts. 


Yarn Dia. 


Ends per 
inch. 


Picks per 
incli. 


52 denier silk 


^Jt 


132 


130 


72's/2 silk 


5T5 


108 


106 


2/80's cotton 


1 


82 


80 


2/60's cotton 


tJ^ 


70 


70 


2/32's linen 


5? 


32 


32 


2/20's linen 


1 


26 


24 


10 skeins 
woollen 


1 


21 


21 


2/22's worsted 


1 


36 


36 



Weight in 
ozs. per yd. 
30" X 36". 



Fig. 64 A, 

B, C, D, E, F. 

Fig. 64g. 
Fig. 65a 

Fig. 65b 

Fig. 66 
A and c 

Fig. 66b 

Fig. 67 

A, B, C, D, E, 

Fig. 68 
A and B 



1-54 

1-84 

2-40 

2-81 

6-4 

8-27 

8-7 

5-62 



A primary feature for comparison in these plain-woven 
coloured styles, is the differentiation in their surface tone and 
character, which is particularly observed in the fineness of the 




Fig. 65a. — Silk Coloured Style. 

silk, the clearness of the cottons, the thread-like definiteness 
of the linens, the softened pattern characteristic in the woollens, 
and the surface smartness of the worsteds. These distinguishing 
elements and qualities in the fabrics are primarily of a filament 
origin. The same series of effects, if woven in metaUic threads 
of the different sizes, and in the different settings tabulated, 
would satisfactorily develop the several schemes of design 



THE YARN UNIT APPLIED 



169 



detail, varying in scale from a minimum type in the smallest 
diameter of thread, to a maximum type in the threads of the 
greater circumferential area. But in threads of silk, cotton, 
Unen and woollen, other textural properties are seen, and the 
species of pattern work produced are modified by (a) the variety 
of fibre of which the yarn is spun, and (6) by the system of 
yarn structure adopted in preparing and spinning. 



b^ 






i;:.„..>«t>!r-!rmr 



b b 

Fig. 65b. — Cotton Coloured Style — Plain Woven. 



136. Pattern Contrasts. — In each group of cloths represented, 
it is evident that clear and precise pattern delineation is 
feasible. Though the effects are minute in the silk specimens, 
they are clearly distinguishable ; and, in corresponding warping 
and wefting, conform in type with those obtained in the woollen 
yarns of five or six times the diameter. All descriptions of 
textural pattern derived from certain orders of weaving two 
or more shades of warp and weft yarns, agree in detail and in 
style in whatever class and counts of yarn produced. The 
fineness, openness, or structural compactness of the pattern, is, 
however, dependent on the size of the yarns, and on the sort 
of filament of which the yarns are made. This will be rendered 
more apparent by examining and comparing the coloured 



170 DBESS, BLOUSE, AND COSTUME CLOTHS 

specimens in Figs. 64, 65, 66, 67, and 68. These comprise 
the following series of pattern types and contrasts — 

I, Contrasts in " 1-and-l " colouring as exemphfied in silk 
and worsted textures, parts a in Figs. 64a and 68a. The 
*' 1-and-l " forms the most elementary order of warp and weft 




|•^i^fiivvii^.^iiv,^v^^ 




Fig. 66. — Linen Coloured Styles — ^Plain Woven. 

colouring, and gives the finest species of colour effect obtain- 
able in woven fabrics. When the order of shuttling is in 
accord with the order of warping, hues in the two shades of 
yarn are formed in the length or in the width of the cloth. If 
the warping, as in these examples, should be arranged 1-and-l 
and the wefting be in one colour, the hnes become broken or 
specked. In Fig, 64a they are extremely fine in character, 
but in Fig. 68a — in which the yarns are of a thicker diameter, 



THE YARN UNIT APPLIED 



171 



two threads as one— the hues are better defined, and produce 
what is known as the bird's-eye spot. The points to be 



•|tit*)W-i-|«.*TL-*^fcTtTt..^Y.. 







B 










ISl 


PiS 




W 




w 


RW 


; \wS -. : 55 


t i 


^PlL>-4. 


M 


^ 


; *pt itH 


3 


Fj 


^ 


i 


m 


y| 


l^¥^ 


m 


eUS 


y 


^ 




Fig. 67. — Plain Woven Woollen Costume Styles. 



specially noted are the increased closeness and minuteness of 
the detail in the silk as compared with the worsted, and the 
perfect symmetry of the pattern type in both cloths. 



172 DRESS, BLOUSE, AND COSTUME CLOTHS 

II. Contrast in " 2-and.-2 " colouring, as seen in the cotton 
and woollen specimens in section b, Fig. 65b, and in Fig. 67a. 
This grouping of warp and weft threads constitutes the simplest 
check basis, and is appUcable to the different varieties of weave 
and fabric structures. In cotton and woollen yarns it is 
suggestive (1) of the perfect agreement of the pattern types 
producible in small and thick threads, the diameter of the 




Fig. 68a. — ^Worsted Costume Style. 



cotton threads in Fig. 65b being i^^ and of the woollen threads 
in Fig. 67a, ^2 > ^^^ (2) of the clearness of the effects when 
woven in cotton textures, and of the rougher character the 
effects possess when woven in woollen textures. 

III. Contrasts in the " 4-and-4 " colouring in silk and wooUen 
yarns, as observed in section c. Fig. 64g, and in Fig. 67b. This 
order of checking, as that in the " 2-and-2," is a standard 
colouring in each class of fabric — linen, silk, cotton, woollen, 
and worsted. It is a severer rectangular pattern than that 
obtainable by warping and wefting 2-and-2. The difference 
in the textural style in these examples is very pronounced, 
owing, in the first place, to one repeat in the woollen being 



THE YARN UNIT APPLIED 



173 



equal to several repeats of the checkings in the silk ; and, in 
the second place, to the fine, smooth surface of the silk 
(Fig. 64g) as compared with the somewhat irregular and 
broken surface of the woollen (Fig. 67b). 

IV. Contrasts in the " 8-and-8 " colouring as illustrated in 
the silk specimen in Fig. 65a, and in the " 3-and-3 " colouring 



.« ?•'. I *:i - 






tK <vC 'qC > O t£-- 0OOE *oC' tDClaCSie. 


















•4.-4— *•#*»/ 






b a c b a 

Pig. 68b. — Worsted Costume Style- 



c b a 

-Compound Colouring. 



in the linen specimen in Fig. 66a. Here the two patterns 
differ in dimensions, but, in the fuier yarn, a repeat of the 
pattern contains twelve threads, and, in the heavier counts 
of yarn, only six threads. The interlacings of the yarns 
are consequently more marked in the linen than in the silk 
texture. It should be observed that the grouping of the threads 
and picks in odd multiples (Fig. 66a) such as 3-and-3, 5-and-5, 
7-and-7, etc., produces a more diversified form of checking 
than the grouping of threads and picks in even multiples, such 
as 4-and-4, 6-and-6, etc. 



174 DRESS, BLOUSE, AND COSTUME CLOTHS 

V. Contrasts in strong or pronounced checkings and as typi- 
fied in the silk textures in Figs. 64e and f, in the cotton sample 
in Fig, 65b, in the linen fabric Fig. 66c, and in the woollen 
cloths in Fig. 67, c and d. In these specimens the quahties 
of the pattern due to the yarn unit are better observed than in 
the smaller variety of checkings. The warp and weft lines, 
forming the checks, are the most distinctly developed in the 
silk fabrics (Fig. 64, e and f) which indicates that the smooth- 
ness of this yarn, combined with its fineness, makes it adapted 
for the delineation of pattern style as acquired from the 
grouping, and in a specified order, of warp and weft threads. 
The cotton check (Fig. 65b) is looser in structure, and the 
lines, whether in warp or weft, are less smartly defined. If the 
yarns had been mercerised the checking would have more 
closely corresponded with the patterns obtained in silk ; but, 
in the case of ordinary cotton threads, the rawness of the 
pattern tone is quite appreciable as contrasted with the neat- 
ness and brightness of the pattern tone in specimens E and F, 
Fig. 64. 

The straightness and evenness of the linen yarns (Figs. 66a, 
B and c) assist in developing the clear checkings characteristic 
of this class of fabric. The detail features in the patterns, 
produced by crossing the warp and weft yarns, are also better 
distinguished in hnen than in cotton manufactures. 

The size of the pattern forms in these several examples, 
emphasizes the coarser and rougher grain of the wooUen-yarn 
cloths, C and D, Fig. 67. The thickness of the threads and 
their undulated and fibrous surface, and also the open setting 
practised in weaving such specimens, develop broadness of 
character in the checkings. In the intermediate sections 
between the solid squares of black and white, in which the two 
yarns are equally intermingled, the plain build of the cloth is 
clearly brought out. 

VI. Contrasts in patterns having a light-tinted ground as 
in the examples reproduced at C and D (Fig. 64), at Fig. 66b, 
and at Fig. 68a. It will be seen that the checldng lines in the 



THE YARN UNIT APPLIED 175 

silk and linen (Figs. 64c and 66b) are precisely accentuated 
with the repeats of the patterns formed in a small number of 
ends and shots ; while the stripings in the worsted (Fig. 68a) 
being crossed with white weft, are less continuous in character 
but well pronomiced in tone. In Ught-coloured yarns the 
make of the fabric is more visible than in dark-coloured yarns, 
and this adds to the interest and structure of the woven style. 
Without magnification, the interlacings of the warp and weft, 
especially in medium and coarser-set cloths, are traceable, 
as is apparent in the hnen style in Fig. 66b and in the worsted 
style in Fig. 68a. 

VII. The contrasts in worsted yarns, as observed in sections 
a, b, and c of Fig. 68b, are suggestive of the degree of pattern 
emphasis possible in the use of three shades of yarn, and also 
of the special adaptabihty of Botany worsted yarns for the 
development of colour ejffects. This intermingled check style 
is obtained by combing three orders of colouring, namely the 
3-odd thread, the 3-2's and 3-4's methods of warping and 
wefting. Each section of the pattern thus composed, contains 
twelve threads and twelve picks. The medium shade, in 
neutral grey, is a yarn consisting of 50 per cent, of black and of 
50 per cent, of white fibre, mingled together in the di'awing 
operations. Both wooUen and worsted yarns are suitable for 
use in coloured pattern work, in the form of " mixture " or 
" melange " yarns. In such shades, they provide scope for 
pattern schemes, resulting in toned or graduated styles, as in 
dark, intermediate, hght, and very fight colourings. If the 
tinted ingredients, admixed in the processes of yarn-making, 
are in strong contrast with each other, each hue or colour in 
the yarns may give tone to the composite colour of the fabric ; 
but in other yarns, where the colours blended are analogous 
in hue, the yarns have, in the fabric, a sofid colour quahty. 

The range of tinting in dress and costume cloths, is mdened 
and varied by this practice in woollen and worsted yarn 
manufacture. The worsted threads also provide for the smart 
development of " weave " design, in addition to the clear 



176 DBE8S, BLOUSE, AND COSTUME CLOTHS 

expression of the pattern types acquired by the system of 
grouping the warp and weft yarn units on the principles 
defined. 

137. Comparison of Standard Cotton Yarns. — For the purpose 
of indicating the relative sizes and qualities of the cotton 
yarns standardized and employed in the dress fabric industry, 
the following varieties of yarns are reproduced to scale, in 
Figs. 69, 69a, b, c, d, e, and f— 

Group I. Fig. 69, Hard Twisted Mule-Spxm Yarns — 

Specimen A = 2/16's, B = 2/20's, C = 2/30's,andD = 2 /40's counts. 

Group II. Fig. 69a, Frame Spvm-Yarns — 

Specimen E = 2/16's, F = 2/20's, G = 2/30's, and H =- 2/40's counts. 

Group III. Fig. 69b, Carded Yarns, Ordinary Twine — 

Specimen I = 2/20's, J = 2/40's, K=2/60's, and L=2/100's counts. 

Group IV. Fig. 69c, Combed Yarns, Ordinary Twine — 

Specimen M = 2/20's, N = 2/80's, and O = 2/100's counts. 

Group V. Fig. 69d, Carded and Gassed Yarns, Soft Twine — 

Specimen P = 2/20's, Q = 2/40's, R = 2/60's, and S = 2/80's covmts. 

Group VI. Fig. 69e, Combed and Gassed Yarns, Soft Twine — 
Specimen T = 2/20's, U = 2/40's, V == 2/60's, W=2/80's, and 
X = 2/100 coimts. 

Group VII. Fig. 69f, Voile Yarns, Gassed — • 

Specimen Y = 1/50's, A^= 2/80's and A^ = 2/100's reversed twine. 

Examining these threads under magnification reveals the 
following features — 

(1) The comparative firmness of the hard- twisted mule- 
spun yarns (A, B, C, and D) making them adapted to the 
manufacture of the stronger builds of fabric, and the com- 
parative evenness of the frame-spun yarns (E, F, G, and H) 
rendering them valuable in the production of cloths of a true 
and fine character. Both these yarns are useful in the 
development of textural or weave effects. 

(2) That in the ordinary degree of twist, the two yarn types 
(carded and combed) differ in levelness and smoothness, 
which is evident on magnifying and comparing samples I, J, K, 
and L, with M, N. and 0. These differentiations are equally 




Fig 69F, GroiQiVn 
Y 




5264— {bet. p/j. 176 ( 



COTTON YARN SPECIMENS 



Fig. 09. — Selp-Actor Spun Yarns, 

Fig. 69a. — Frame Spun Yarns. 

Fig. 69b. — Carded Yarns — Ordinary Twine. 

Fig. 69c. — Combed Yarns — Ordinary Twine. 

Fig. 69d. — Carded Yarns — Gassed. 

Fig. 69e. — Combed Yarns — Gassed. 

Fig. 69f. — Voile Yarns — Gassed. 



Fig.69. Group 1 

A 



Fig.69D. Group V I 
P ^ 




Hg.69E, Group VI 




Fig.69C,G'oupIV 






COTTON YARN SPECIMENS 

Fig. 09. — Self-Actor Spun Yarns. 

Fig. 69a. — Frame Spun Yarns. 

Fig. 69b. — Carded Yarns — Ordinary Twine. 

Fig. 69c. — Combed Yarns — Ordinary Twine. 

Fig. 69d. — Carded Yarns — Gassed. 

Fig. 69e. — Combed Yarns — Gassed. 

Fig. 69f. — Voile Yarns — Gassed. 



'^'- iHi. 1/b anil 177 



THE YARN UNIT APPLIED 177 

observed in the lower as in the higher counts of yarn. The 
carded and mule-spun yarn is obviously suitable for producing 
cloths with a filament surface, as acquired by ordinary practice, 
and also by raising ; while the clear, even formation of the 
combed yarn, in 2/20's, 2/80's, and 2/100's counts, is, as now 
understood, the sort of yarn for defining pattern detail due to 
the methods of crossing threads of warp with shots of weft. 

(3) The effect of gassing, in cleaning the surface of the yarns 
of extraneous fibre, is apparent in both the carded threads 
Q, R, and S, and in the combed threads T, U, V, W, and X. 
The quality of fabric obtainable from such yarns, as com- 
pared with hke counts of yarns ungassed, is one of distinctness 
of structure, supplemented by smartness of textural face. 

(4) The mechanical equahty of thread, of a hard-twisted 
nature, apphcable to the making of voile fabrics, is illustrated 
in Fig. 69f, or in the single fine-spun yarn Y, in the 2-fold 
twist A^, and in the 2-fold thread, reversed twine, A^. For 
voile cloth manufacture, these structural features in the 
yarn are essential in acquiring (a) clearness and fineness of 
texture, and (6) strength, fineness and firmness of fabric build. 



12— (5264) 



CHAPTER V 

WEAVE ELEMENTS AXD CLOTH CONSTRUCTION 

138. — Fabric Build. 139. — ^Weave Diversification and Loom 
Mechanism. 140. — ^Weave Classification. 141. — Uses of the Plain 
Weave. 142. — Loom Setting and Cloth Variation. 143. — 
Systems of Weave Extension. 144. — Prunelle and Warp and Weft 
Face Twills. 145. — Cassrmere and TwiEs of a Similar Formation. 146. — 
Two-and-two Twill Derivatives. 147. — ^Four-end Serge Twills. 
148. — Balanced TwUl Effects. 149. — Range of Twill Derivatives. 
150. — Points in the Construction of Derivative Weave Plans. 151. — 
Elongated TwUls. 152. — Crepe Effects. 153. — ^Warp Cords and Cord 
Twills. 154. — Compound Twills and Diagonals. 155. — Checkings or 
Dice Patterns. 156. — ^Waved Effects. 157. — Diamond, Diaper and 
Lozenge Structures. 158. — Transposed Types. 159. — Mock Lenos. 
160. — ^Honeycomb Plans. 161. — Huckabacks and Weaves giving 
a Rough Surface. 162.^ateens. 163.— TwiUed Mats. 164.— 
Point Paper Plans. 165. — Weave " Gamut " and Shaft Mountings. 
166. — Six, Seven, and Eight-Shaft Weaves. 167.- — -Weaves on Nine, 
Ten and Eleven Shafts. 168. — ^Weaves on Twelve, Thirteen and 
Fourteen Shafts. 169. — Weaves on Fifteen and Sixteen Shafts. 

138. Fabric Build. — The build or construction of the woven 
fabric is dependent on the order of interlacmg the warp and 
weft threads in the operation of weaving. Four fundamental 
systems of intertexture are sketched in Figs. 60, 61, 62, and 63 
pages 161 to 164, 

The looming plans, as prepared on ruled or square paper, 
are shown at the side of the di"awings. These respectively com- 
prise 2, 3, 4, and 8 threads of warp and picks or shots of weft. 
In Fig. 60 the point paper is marked in alternate squares ; 
in Fig. 61 in twilled arrangement, marking one square and 
omitting two squares on each pick ; in Fig. 62 squares A and B 
are marked on pick 1, B and C on pick 2, C and D on pick 3, 
and D and A on pick 4 ; and, in Fig. 63, square A is marked 
on pick 1, and D on pick 2, following this scheme of distribution 
of the marks to the 8th pick in the plan. The textures 
produced by the different crossings are seen to be dissimilar in 

178 



WEAVE ELEMENTS 179 

formation. In each example the plan of marking the point 
paper exactly coincides with the system of interlacing, or with 
the fabric " make " or " build," giving in Fig. 60 a plain, in 
Fig. 61 a prunelle, in Fig. 62 a -3^ twill or cassimere, and in 
Fig. 63 a sateen cloth. In the plain and the -^ twill textures, 
the warp and weft yarns are equally floated on the face and on 
the underside of the cloth ; whereas, in the prunelle, there are 
two parts of warp to one part of weft on the face, and on the 
back two parts of weft to one part of warp ; and in the sateen 
I of warp on the upper surface to ^ of weft, and on the lower 
surface | of weft to I of warp ; or, as in Figs. 61 and 63, the 
positions of the yam units may be reversed. 

The alternate principle of intersection in Fig. 60 represents 
the first principles of cloth construction. The prunelle is typical 
of all ordinary twilled weaves, in which one thread of warp in 
the series of- threads combined, i.e. 4, 5, 6, 7, etc., is crossed 
or covered by one pick of weft — an order of intersection which 
enables either a warp or a weft face twilled cloth to be woven. 
The cassimere is the most elementary type of twilled weave 
producible in which the warp and weft lines are equal in 
dimensions on both sides of the texture. The sateen is a 
different type of weave, being illustrative of the varieties of 
texture, having either a warp or weft surface, in which the 
interlacings are at least one thread and one pick apart, 
the distance of one intersection from the other being 
mathematically fixed by the ends and picks occupied by 
the weave. 

139. Weave Diversification and Loom Mechanism. — Weave 
diversification is restricted by the capacity of the loom, or by 
the practice in " warp shedding," and also by the practice of 
shutthng or of inserting the picks of weft. In shedding, the 
warp threads are displaced in consecutive groups (each gi"oup 
corresponding to a fraction of a repeat of the weave) for the 
passage of the shuttle, by " shafts," " staves," or " heddles," 
as in the treadle, tappet, and dobbie looms, or by " harness 
cords," as in the Jacquard machine. In the use of shafts, 



180 DEESS, BLOUSE, AND COSTUME CLOTHS 

the possible individual movements of the warp ends are limited 
to the number of shafts or shedding units employed, which 
rarely exceeds 8 in the tappet motion and 32 or 36 in the 
dobbie. In the harness mounting, the range for textural 
design is much greater, being equivalent to the number of 
control wires in the machine — 100, 200, 300, 400, 600, or as 
many as 1,200 to 2,000. Cloth planning is, however, mainly 
restricted to weave elements obtainable on 2, 3, 4, and other 
numbers of shafts. The weave elements formable in each 
series of shafts are extensible in the picks, for the repeat of a 
weave may be confined to a small number of threads but 
comprise a larger number of shots, as, for example, in the 
origination of fancy twills and diagonal patterns. 

140. Weave Classification. — Dress-fabric construction, owing 
to the diversity of fibrous materials in which the goods are 
manufactured, and also the diversity in the thickness of the 
yarns utilized, and to the range of " settings " in the warping 
and wefting, offers the fullest latitude for variation in cloth 
build, arising from, and determined by, the methods of yarn 
interlacing. In this connection " weave " might be studied in 
respect to the units of effect obtainable in specific shaft 
mountings, i.e. mountings consisting of different numbers 
of heddles. Taking the plans made on 2, 3, 4, 5, etc., shafts 
as representative of different varieties of intertexture, this 
system of classification would include, in these several shaft 
mountings, weaves of a like category in addition to the special 
types of weave workable in each series of shedding units 
comprised. 

The subject wiU, therefore, be dealt with as it is divisible 
into weave principles of special application to dress goods, 
blouse textures, and worsted and union costume cloths. At 
the same time attention will be given to the numbers of shafts 
employed in forming weave types. Weaves of one healding 
denominator will be considered as such, and it will be shown 
in what way they differ in textural utility from weaves of a 
similar construction having other working denominators. 



WEAVE ELEMENTS 181 

Thus examined, " weave " structures and " weave " patterns 
are reducible to following distinctive classes — 

TABLE IX 

Group Classes of Elementary Weaves 
I. The Plain Weave and its Derivatives. 
II. Warp-Face and Weft-Face Twills. 

III. Balanced Twills, e.g. Twills of an equal number of Warp and 

Weft intersections on both sides of the cloth and with the 
lines of Warp and Weft equal in size. 

IV. Derivatives of the Common or Standard Twills included in 

Classes I and II. 
V. Elongated Twills — (a) in the Warp, and (&) in the Weft. 
VI. Crepe Twills and Crepe Weaves. 
VII. Cords, Cord Twills and Stripes. 
VIII. Compoimd Twills and Small Diagonals. 
IX. Checkings or Dice Patterns. 
X. Waved and Serpentine Patterns. 
XI. Diaper, Diamond and Lozenge Effects. 
XII. Transposed Effects. 

XIII. Mock-leno Plans. 

XIV. Honeycombs. 
XV. Sateens. 

XVI. Twilled Mats. 
XVII. Irregular Weaves. 

141. Uses of the Plain Weave. — The plain make is used in 
all the different branches of the dress-fabric industry. It is 
appUed to cloths of one colour, and to cloths of one colour of 
warp and of a second colour of weft, and results in the produc- 
tion of silk, cotton, Unen, worsted, and woollen manufactures. 
The loom setting is, in each method of application, adapted to 
the style of fabric required. Thus plain textures are made in 
such yarn qualities and counts, and in such settings as typified 
below — 

A. — Silks 
I. Crepe de Chine — 

Warp : 52 denier organzine. 
Weft : 52 denier trame. 
120 threads and shots per inch. 
II. Spun Silk variety — 

Warp : 60's 2-fold silk. 

Weft : 60 's silk. 

96 threads and 90 shots per inch. 



182 DRESS, BLOUSE, AND COSTUME CLOTHS 



B. — Cotton Textures 



I. Muslins — 
(a) Common or " Book ' 
Variety. 
Warp : 60 's cotton. 
Weft : 60's cotton. 
40 threads and 30 
shots per inch. 



(b) Medium Variety. (c) Fine Variety. 



Warp : 80 's cotton. 

Weft : lOO's cotton. 

80 threads and 62 

shots per inch. 



II. Crimps — 

Warp : 2/60's cotton. 

Weft : 25's cotton. 

70 threads and 60 shots per inch. 

III. Voiles— 

Warp : 2/80's cotton. 

Weft : Reversed tmne. 

80 threads and 65 shots per inch. 

IV. Flannelettes — 

Warp : 30 's cotton twist. 

Weft : 15's cotton. 

60 threads and 70 shots per inch, 

C. — Linens 
I. Thin Structure: — 

Warp : 2/336's linen. 
Weft : 1/164's linen. 
96 threads and 90 shots per inch. 

II. Canvas Structures — 

Warp : 2/56's linen. 

Weft : 28's linen. 

40 threads and shots per inch. 

D. — Worsted 
I. Botany — 

Warp : 2/60's worsted. 

Weft : 30 's worsted. 

54 threads and 52 shots per inch. 

II. Cross-breds — - 

Warp : 2/16's worsted. 
Weft : 2/16's or 8's worsted. 
24 threads and 22 shots per inch. 
E. — ^Woollens 
I. Saxony-Hailines — ■ 

Warp and Weft : 
1 thread of 32 skeins dark shade. 
1 „ „ „ light „ 

40 threads and shots per inch, 



Warp : 120's cotton. 

Weft : 190's cotton. 

112 threads and 120 

shots per inch. 



WEAVE ELEMENTS 183 

II. Cheviot — 

Warp and Weft : 
16 j2 threads of 12 skeins medium shade. 
Threads. "12 „ 12 „ light 

8 j 1 thread of 12 skeins medium shade. 

Threads. /l „ 12 „ light „ 

20 threads and 18 shots per inch. 

F. — Unions 
I. Delaines — 

Warp : 30 's cotton. 

Weft : 30's Botany worsted. 

60 ends and picks per inch. 

II. Lustres — 

Warp : 2/120's or 1/60 's cotton. 
Weft : 32 's Lustre worsted or mohair. 
60 ends and 56 picks per inch. 

III. Costume Cloths {Face Finished) — 
Warp : 2/40's cotton. 
Weft : 28 skeins woollen. 
48 ends and picks per inch. 

142. Loom Setting and Cloth Variation. — The above settings 
illustrate the manner in which cloth variation is acquired in 
any description of yarn for giving a definite class of woven 
manufacture. In the cotton crimp, the warp is woven slackly 
tensioned, which has the effect of developing the creased effect 
in the fabric. The yam for the flannelette cloth requires to 
be of a condition suitable for raising, that is, soft in twine, 
while that for voile should be of the hard-twisted type defined 
previously. For developing the plain weave intersections 
clearly in the Hnen, examples C, the weft may be 2-fold as 
well as the warp, but the use of the single weft imparts a degree 
of softness of handle to the cloths. 

Colour effects and styles are largely woven in the plain make 
as illustrated in Figs. 64, 66, and 67. In settings E, the 
colour practices in producing hairlines in Saxony yarns, and 
small checkings in Cheviot yarns, are exemplified. Of the 



184 DBESS, BLOUSE, AND COSTUME CLOTHS 

orders of warp and weft colouring applicable to this weave in 
all kinds of yarn the following are standards — 
1-and-l, 2-and-2, 3-and-l, 2-and-2, 3-and-3, 
4-and-4, 4-and-l, 2-and-l, 6-and-6, 8-and-8, etc., 
wefting in one shade of yarn, or in the same order as warped. 

143. Systems of Weave Extension. — The plain make, and 
many of the elementary weaves — those occupying 3, 4, 5, 6, 
7, and 8 shafts — are subject to three forms of extension, first 
in the warp, second in the weft, and third in both warp and 
weft. On the first principle, the picks are duphcated 
variously as in A^, A^, A^, A*, and A^, Fig. 70, giving, on the 
basis of the plain weave, different species of warp cords, such 
as 2-and-2, 3-and-3, and 4-and-4, and the nondescript types at 
A* and A^. By an extension of the threads as in A® and A', 
or by inverting weaves A^ to A^, weft repps or cords are formed. 
The construction of mats or hopsacks as in A^, A^, and A^", 
is the result of duphcating both the ends and shots of the 
weave A. If, in this double extension, the process of duphcation 
is irregular elongated mats are produced as at A^^ and A^^^ 
Combining these three systems of extension, mat, and warp 
and weft cord effects, of the character illustrated in A^^, A^^, and 
A^^, are acquired. Makes of the mat and compound mat and 
cord class are usually woven on the square, but for correct 
cloth production, in warp cords, there should be a larger 
number of threads than picks per inch, and, in the iveft cords, 
a fuller number of picks than threads. This is the general 
rule observed in the manufacture of all descriptions of repp 
and cord textures. 

144. Prunelle and Warp or Weft Face Tivills. — The prunelle 
(Fig. 71) is the twilled weave obtainable on the lowest series 
of heddles. It is the weave used in the making of Cashmere 
shawls, possibly on account of the advantage it offers in the 
process of weaving over the 2^- twill, only one-third of the 
threads in the warp being lifted for each pick of weft inserted 
into the piece. The " cassimere," a corruption of " kersey- 
mere," makes a firmer build of cloth, but the prunelle is also 



WEAVE ELEMENTS 



185 



largely used in producing fine fabrics in either worsted or 
woollen costume cloths. Stripes and check patterns are 
obtained by combining plans A and B (Fig. 71) sectionally. 
The prunelle only yields a small group of derivatives. An 



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threads the obhque twill, A^ ; and of the picks and threads, the 
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186 DRESS, BLOUSE, AND COSTUME CLOTHS 

145. Cassimere and Twills of a Similar Formation. — These 
include the common varieties of twilled weaves, and are only 
producible on an even number of threads and picks as shown 
in weaves A and B (Figs. 72, 75, and 77). As both warp and 
weft interlacings in such weaves have a hke function and pro- 
minence in the fabric, they make the truest type of cloth 
structure, agreeing in this particular with the plain or calico 
weave. By unbalanced loom-setting, emphasis may, however, 
be given to either the warp or the weft elements, and the 
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2 



with 64 ends and picks per inch, the twilled lines, in the -^^ 
weave (A, Fig. 72), in the -^, (A, Fig. 75), and in the ^ weave 
(A, Fig. 77), would have an angle of 45°, or they would present 
the same angle as that of the twiUed Hnes in the point-paper 
plans. Should these plans be prepared on 8 X 16 and on 
16 X 8 paper, they would show, in a theoretical form, the 
approximate lines of the twiUs due to changing the loom 
setting to 64 picks and 32 threads, and to 64 threads and 32 picks 
per inch. It follows that a departure from the plan of uni- 
formity of threads and picks per inch, in the weaving of a 
twilled fabric, the angle of the twilled lines in the piece becomes 
altered. It is a method practised, to a Umited extent, in chang- 
ing a common into a more or less upright or a more or less obhque 
twill ; and also in reducing the cost of fabric construction by 
lowering the number of picks as compared with the threads 
per inch. 

146. Two-and-Two Twill Derivatives.- — The larger the number 
of ends and picks occupied by weave, the greater as 
a rule the range of weaves derivable from a given plan of 
interlacing. This is seen on comparing the type of effects 
obtainable by the re-arrangement of the threads or picks of 
the weaves A and B (Fig. 71) and the weaves A and B (Fig. 72). 
Whereas from the pruneUe twill only three distinctive weave 
types are obtained, from the -^- twill such different weave 
elements result as those illustrated at A^ to A^ and at B^, C^, 
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188 DRESS, BLOUSE, AND COSTUME CLOTHS 

extensions of the picks, the threads, and of both the threads 
and picks of the weave. Further, the re-grouping of the 
picks in the order of 1, 2, 4, and 3 forms the crossing at A* or 
a weave-cutting in two's in the picks, and the re-grouping of 
the threads in the order of a, c, b, and d gives the crossing at 
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the 7th and 8th picks ; and combining the same two weaves 
thread-and-thread, produces the broken mat weave at C^, 
cutting on the 4th and 5th and on the 7th and 8th threads. 
Other methods of thread and pick re -arrangement are shown 
at A« and B^. 

147. Four-end Serge Twills. — Extensions of these weaves 
(A and B, Fig, 73) are given at A^ B^, A^ and B^, and modifica- 
tions of the weaves, by transposing the order of the threads, 
are given at C and D, The two latter are known as the broken 
" swansdown," and have a specialized appHcation in the 
weaving of cloths with a smooth surface and a fibrous finish. 



WEAVE ELEMENTS 



189 



The combination of either plans A and B or C and D in pick- 
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hacked structures, as shown in weaves A^ and C^. The crossings 
A* and A^, derived from twills A and B, are typical of the 
" satara " and " stockingette " builds of fabric, which may 
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Fig. 74. — Examples in Five-end Twill Derxvatives. 



of weaves C and D. The " satara " is a cloth with the cutting 
Unes weftways. If these run in the direction of the warp, as 
in Plan C^, a " stockhigette " effect is produced. Both types of 
make are usable in reversible fabrics.* Employing the 2-ply 
warp structures (Fig. 73, A^ and C^) the warp yarns conceal the 
shots of weft, and employing the same weaves, turned round, 
and converting them into 2-ply weft structures, causes the shots 
of weft to conceal the threads of warp. Faced-finished costume 
cloths (Saxony woollen or Botany worsted), are producible in 
either of these systems of weave -planning. On economic 

* See Standard Cloths : Structure and Manufacture. 



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Fig. 15. — Examples in Six-end Twill Derivatives. 




WEAVE ELEMENTS 



191 



weaving grounds, the warp practice has advantages, and is 
requisite if a " stockingette " kind of cloth is intended. On 
the other hand, if cotton yarns are used in the warp, and 
crossed with woollen or Botany worsted yarns, and the 
" satara " effect is desired, the weave essential is that formed 
on the reversible weft principle. 

148. Balanced Twill Ejfects.- — Textural effects from weave 
types may be readily designed by selecting twills in which 
the warp and weft interlacings either coincide in size or 
approximately balance each other on the two surfaces of the 
cloth, that is, such twills as ^-, ^, f-, -3^, 4^, 4-^, etc. In 
addition, twills occupying 10, 11, 12, or more threads and 
picks, and also twills of a larger construction (on 16 to 24 
shafts) and varied in the lines of warp and weft, are also exten- 
sively utihzed for re-arrangement purposes, but these are mainly 
apphcable to special grades and descriptions of cloth. Examples 
in the weave units, derived from the more ordinary classes of 
twills, are illustrated in Figs. 72 to 78 inclusive. The scheme 
of weave-planning, varied in the origination of each effect, as 
well as the basic weave from which the effect has in each 
instance been obtained, are defined in Table X. 

TABLE X 
Derivatives of Twilled Weaves 



Twilled Base. 


Order of Thread or Pick Trans- 
position or Grouping. 


Derivative Types. 


Fig. 72a, ^a Twill 


Plan A^ — Duplicated in the picks 


Upright Twill 


or Cassimere 


,, A^ ,, ,, threads 


Oblique Twill 




„ A» 


Step Twill 




and picks 






„ A*— Picks 1, 2, 4, 3 


Weave cutting two's 
in the weft 




„ A^ — Threads a, c, b, d Weave cutting two's 




in the warp 




„ A* ,, a, c, b, d, c, a, d, b Granite Twill, angle 

15° 


Fig. 72b 


Plan Bi— Picks 1, 2, 4, 1, 3, 4, 2, 3 Granite Twill, angle 

60° 
,, Ci — Alternate picks of A and Irregular Make 


Fig. 72a and b 




,, C^ — Alternate threads of A 






and B 





192 DRESS, BLOUSE, AND COSTUME CLOTHS 



TABLE X—[contd.) 



Twilled Base. 


Order of Thread or Pick Trans- 
position or Grouping. 


Derivative Types. 


Fig. 73a, ^i Twill, 
Warp -face 

Fig. 73b, yJ- Twill, 
Weft-face 

Fig. 73a and b 


Plan Ai- 
„ A2 
„ Bi 
„ B3 

„ A»- 


-Duplicated in the picks 

„ „ threads 

,, „ picks 

„ „ threads 

-Alternate picks of A and 
B, both twilled to the 
right 


Upright Warp -face 

Twill 
Oblique Warp-face 

Twill 
Upright Weft-face 

Twill 
Oblique Weft-face 

Twill 
2-ply Weft-face 

Twill 


» 


" 


A*- 


-Alternate picks of A and 
B, twills in reverse direc- 
tion 


2-ply Weft-face 
Weave. 


«» 


>» 


A5- 


-Alternate threads of A 
and B, twills to the right 


2-ply Warp-face 
Twill 


Fig. 73c, y^ Broken 
Twill, Warp -face, 
and Fig. 73d 
Broken Twill, 
Weft-face 




Ci- 


-Alternate threads of C 
andD 


2-ply Warp-face 
broken " swans- 
down" 


Fig. 74a, 5-end 
Twill 

»» 


Plan Ai- 

„ A2- 


-Threads a, c, e, b, d ' 

-Picks 1, 3, 2, 4, 3, 5, 4, 
1, 5, 2 


Venetian Twill 
Whipcord 


» 


>> 


A3- 


—Threads a, d, d, b, e, e, c, 
a, a, d, b, b, e, c, c 


Mat and Twill 


" 


» 


A* 


,, a,c,c,b,d,d,c,e, 
€, d, a, a, e, b, b 


Fancy Twill 


Fig. 74b, j^ 5-end 
Twill 




Bi- 
B2- 


-Picks 1, 3, 5, 2, 4 

-Threads a, c, b, d, c, 
e, d, a, e, b 


Weft Twill 
Step Twill 


Fig. 75a, 3* Twill 


Plan Ai- 


—Threads a, b, e, /, c, d, a, 
b, e, f, c, d 


Twill, cutting 2's in 
the Warp 


Fig. 75b, 53. Twill to 
the left 


>> 


Bi- 


— ,, a', b', c', /', a', 
b', e', /', a', d', 
c', b', c', b', d', 
b', a', f 


Twill, cutting 3's in 
the Warp 


Fig. 75d, -i Twill 
to the left 


» 


Di- 


-Picks 1, 2, 6, 1, 5, 6, 4, 
5, 3, 4, 2, 3 


Whip Cord 


Fig. 75 A and D 


" 


Ei- 


- „ lA, lA, 3d, 2a, 2a 
2d, 3a, 3a, Id, etc. 


Mat Twill 


„ 75 c „ D 


» 


E2- 


— „ Ic, 4d, 2c, 2d, 3c, 
Id, etc. 


Weft-Cord Twill 



WEAVE ELEMENTS 



193 



TABLE X.—{contd.) 



Twilled Base. 



Order of Thread or Pick Trans- 
position or Grouping. 



Derivative Types. 



Fig. 76a, ^ Twill 
Fig. 76 c and d 
„ 76 A „ D 
Fig. 76d 



Plan A^ — Threads a, e, b, f, c, g, d 

„ A»— Picks 1, 5, 2, 6, 3, 7, 4 

„ C^ — Threads arranged alter- 
nately or thread and 
thread of C and D 

,, C — Threads arranged alter- 
nately 2 ends of A and 
1 end of D. 

„ D^— Threads a', f, d', b', g', 

e', c' 



Corkscrew or Warp- 
Cord Twill 
Weft Corkscrew 

Modified Warp 
Corkscrew 



Compound Twill 



Fine Whipcord 



Fig. 77a, -± Twill 


Plan Ai- 


-Picks 1, 3, 7, 1, 6, 7, 3, 5 


Step Twill, cutting 

2's 
Open Twill, mat 


Fig. 77b, -4 Twill to 


„ Bi- 


-Threads a', a', c', c', g'. 


the left 




g', a,' a', e', e', 
g', g', c', c', e', e' 


character 


Fig. 77c, '3 Twill 


„ Ci- 


-Picks 1, 4, 7, 2, 5, 8, 3, 6 


Crgpe Twill 




» C2- 


-Threads c, 6, d, c, e, d, j, 
e, g, S, h, g, a, h, 
b, a 


Elongated Twill 


Fig. 77d, 1 3 Twill 


„ Di- 


—Threads a, d, g, b, e, h, 
c,b 


Twilled-mat 


» 


„ D3 


„ a, h, b, a, c, b, d, 
c, e, d, /, e, g, /, 

Kg 


Elongated Twill 



Fig. 78a, 


^ Twill 

4 


Plan Ai- 


-Threads 


a, S, b, g, c, 
d, i, e 


K 


9-shaft Corkscrew 




>> 


„ A2 


" 


a, 6, /, g, b, c 
h, c, d, h, i, 
e, i, a, e, / 


9, 
d, 


Twill skipping in 
2 threads 


Fig. 78b, 


1 3 Twill 

3 2 


„ Bi 


" 


a, /, b, g, c, 
d, i, e 


K 


Oblique Twill 


Fig. 78c, 
Twill 


1 2 1 
3 11 


» Ci- 


-Picks 1, 
9, 5 


6, 2, 7, 3, 8, 


4, 


Crepe Twill 


Fig. 78d, 


1 * Twill 

2 2 


., Di- 


-Threads 


a, f, b, g, c, 
d, i, e 


K 


Whipcord inverted 



13— (5264) 



194 DRESS, BLOUSE, AND COSTUME CLOTHS 

149. Range of Twill Derivatives. — It will be observed, that, 
with the enlargement of the weave base, the range of weave 
derivatives is increasingly diversified. Compare, for example, 
the plans acquired from the 4-end and 5-end twills, or those from 
the 6-end and 8-end twills. The ^^ twill units (Fig. 72) are of a 
more stereotyped variety than the ^- twill units (Fig. 74), the 
latter comprising the Venetian A^, the weft face Venetian B^, 
the whipcord A^, and the open fancy oblique twills A^ and A*. 
Similar forms of weave, as the open makes, are also got by 



m 



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Fig. 76. — Examples in Seven-end Twill Derivatives. 



following the same systems of thread grouping and using the 
2-^ twill, but less pronounced in the warp effects. The 6-end 
twill units (Fig. 75), by transposing the threads, include the 
step twills A^ and B^ ; and, by transposing the picks, the 
standard whipcord twill D^ ; and by combining two picks in a 
shed of plan A with single picks of plan D, running to the right, 
a simple variety of diagonal, E^ The 8-end plans (Fig. 77) are 
capable of other schemes of elaboration than those illustrated, 
but clearly these plans are fuller in intersection details than 
those comprised in Fig. 75. With the possibihty of changing 
and diversifying the lines in the basic tmll, as seen at C and D 



WEAVE ELEMENTS 



195 



(Fig. 77), the re-arrangement of the ends or picks gives the 
twilled mat D^, and the crepe twill C^, and also the elongated 
and compound twills C^ and D^. 

150. Points in the Construction of Derivative Plans. — 
Other points for consideration are (1) the different classes of 
weave structures as derived from plans on an even and odd 
number of threads respectively ; (2) the principles of weave 



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Fig. 77. — Examples in Eight-end Twill Derivatives. 



formation common to twills generally ; and (3) the methods 
practised in acquiring a new or distinctive type of crossing 
from a particular twilled weave. 

(1) In using twills composed of 5, 7, 9, 11, etc., threads, 
weaves of a twilled warp or weft cord class may be correctly 
formed, as in A^ and A^ (Fig. 76), which are also made by the 
same system of thread or pick transposition on 9 and 1 1 shafts, 
by employing the j^ and the -A twills. Further, this variety 
of cord or corkscrew plan is also formable in twiUs consisting 
of an even multiple of threads, but the effects, due to the warp 
interlacings, are less accentuated as compared with those due 



196 DRESS, BLOUSE, AND COSTUME CLOTHS 

to the weft intersections. This might easily be proved by 
producing plans of a Uke arrangement to C^ (Fig. 76), using 
plan A (Fig. 75), and to A^ (Fig. 78), using plan A (Fig. 77). 
One system of weave definition, in employing the even-thread 
twills, not applicable to twills of an odd number of threads. 




alfcdefght 
A. 



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Fia. 78. — ExAMPiiES in Nine-end Twill Derivatives. 

is that of cutting the original twill into equal sectional parts ; 
thus, in constructing plans A^ and B^ (Fig. 75) twill A is divided 
into thirds and halves, and these fractional parts are combined 
on an extended twill base. The 8-shaft twill, A (Fig. 77), is 
divisible into fourths as well as halves ; and 10-shaft twills 
into fifths, and 12-shaft twills into sixths, fourths, and thirds, 
in addition to halves. While, however, equal parts of odd- 
thread twills are not ascertainable, the threads or picks may 
be grouped in two's, three's, etc., and in corresponding sections 
as in the weaves referred to ; but the system of construction, 



WEAVE ELEMENTS 



197 



in this instance, results in the acquired weave being composed 
of a similar number of threads as that obtained by 
multiplying the threads in the twill selected by the number 
of threads in the motive applied ; for example, to combine the 
ends in groups of 2, 3, or 4, using 7 and 9-shaft twills, would 
give designs on 14, 21, and 28 threads, and on 18, 27, and 36 
threads respectively. 

(2) All the standard twills are suitable for modification on 
sateen weave principles of interlacing, which provide the 
orders of re-arrangement or transposition of the threads or 
picks in the different twills specified below — 



Weave Base. Sateen Order of Thread or Pick Arrangement 

4-end Twills Threads or Picks 1, 2, 4 and 3. 
5-end Twills ,, ,, 1, 4, 2, 5 and 3, or 

,, ,, 1, 3, 5, 2 and 4. 

6-end Twills „ „ 1, 3, 5, 2, 6 and 4. 

7-end Twills „ „ 1, 5, 2, 6, 3, 7 and 4, or 

1, 3, 5, 7, 2, 4 and 6. 
8-end Twills „ „ 1, 4, 7, 2, 5, 8, 3, and 6. 

9-end Twills „ „ 1, 6, 2, 7, 3, 8, 4, 9 and 5, or 

1, 3, 5, 7, 9, 2, 4, 6 and 8. 
10-end Twills „ „ 1, 4, 7, 10, 3, 6, 9, 2, 5 and 8. 

11 -end Twills „ „ 1, 3, 5, 7, 9, 11, 2, 4, 6, 8 and 10, or 

1, 4, 3, 10, 2, 5, 8, 11, 3, 6 and 9. 
12-end Twills „ „ 1, 6, 11, 4, 9, 2, 7, 12, 5, 10, 3 and 8. 



Certain of these methods of re-arrangement are exemplified 
in Fig. 74, A^ and B^ ; Fig. 76, AS A2, and T>^ ; Fig. 77, D^ ; 
and Fig. 78, A^, Bi, and O. 

(3) The simple twills are also adapted for re-arrangement by 
taking sectional parts thereof, and running them in a sym- 
metrical plan either in the direction of the warp or weft. 
A " motive " or " motives," composed of given threads or 
picks in the twill selected, is first originated. Such "motives " 
are next worked into a complete design as in A* (Fig. 74), C^ 
(Fig. 76), and Bi (Fig. 77). 

151. Elongated Twills. — Small diagonals or elongated twills 
are of two categories — (1) elongated in the direction of the warp 



198 DRESS, BLOUSE, AND COSTUME CLOTHS 

line, that is in the picks on the point paper ; and (2) elongated 
in the direction of the weft line, that is in the threads on the 
point paper. Elementary examples of these patterns are com- 
prised in certain of the twill derivatives, as at E^ and E^ (Fig. 75) 
and at C^ and D^ (Fig. 77). The practice consists in combining 
two or more simple twills of a suitable scheme of interlacing 
in pick-and-j)ick or thread-and-thread order ; or in 2-and- 
1, 2-and-2, 3-and-l, and 2-and-3, and other systems of 
combination, the plan of grouping agreeing with the type of 
effect required in the cloth. Examples of a simple character 
are reproduced at A, B and C (Fig. 79), These are severally 
formed of two-weave units, and are contrived on the 
pick-and-pick basis of plan-onnstruction indicated below — 



Fig. 79a, Twill Move — 

^j J . 1 ITT TO One thread for each pick of 

Oad picks — Weave a = 9 -t" i , , , n , 

I r. no Tm7f\ iiroQiroc n onri n 

Even „ „ 6 = T^t^t) 



the two weaves a and h. 



Fig. 79b. 

Odd picks — ^Weave a = 
Even ,, ,, 6 = 

Fig. 79c, 

Odd picks — Weave a = 

Even ,, „ b = 



4 2 
1 1 



2 1 I 

1 2 ; 



Transposing the plans and substituting threads for picks, 
would produce twills elongated in a weft Hne, while grouping 
the picks of the respective weave units in such orders as two 
picks of weave a and one pick of weave b, or two picks in a 
shed of weave a and one pick in a shed of weave b in each 
example, would further elongate the twilled effect. 

Another scheme of plan-making involves the amalgamation 
of several twilled units in a diagonal form, as in examples D 
to I, in Fig, 79, These introduce additional principles in 
design-planning, both in the order of composition and in the 



WEAVE ELEMENTS 199 

selection of weave elements of a suitable structure. The types 
illustrated in Fig. 79 are formulated thus — 

Fig. 79d, composed of y- twill and 3^- warp cord. Approx. angle 70° 

„ 79e „ 3I and ^^ twills. „ „ 70° 

,, 79f ,, Sateen and weft Venetian twills. ,, ,, 63° 

,, 79g ,, Sateen, ^-j- and ,, ,, 63° 

y-^-^J- twills. 

„ 79h „ 2? twill and Venetian twill. „ ,, 70° 

,, 79i ,, Venetian, upright and -^^ twills. ,, ,, 70° 

,, 79j ,, Plain, mat and lines of warp twill. ,, ,, 75° 

„ 79k „ 3^ and -5^ twills. „ „ 80° 
„ 79l ,, Weft, corkscrew, and buckskin 

twills. „ „ 70° 

152. Crepe Effects (Fig. 80). — The object in the origination 
of this group of plans is a texture light in character in which 
the warp and weft threads are frequentty and systematically 
interlaced. The weave should produce, in the first place, a 
satisfactory build and grade of fabric, and in the second place, 
a subdued but distinctive class of woven effect. The types of 
plans sketched at A to F (Fig. 80) are suggestive of the 
constructive practice in acquiring closeness and fineness of 
textural grain, and, at the same time, a specific style of weave 
pattern. Plan A is an intermingled crossing almost plain, but 
showing faint twillings in the cloth ; B and C are similar to 
each other in formation, but C yields a faster structure. The 
twills in C also follow a more oblique line than in B, while the 
warp elements in the latter tend to develop an indefinite mat 
quaUty. Type D is devised on a sateen base containing eight 
spottings in the weft, and a like number of a smaller size in 
the warp, with the plain make for the ground. In E and F 
still clearer twilled lines are developed, retaining the principle 
of frequency of warp and weft intersection. The use of either 
cotton or Botany warp yarns, harder twisted than the weft 
yarns, would develop the twills in E, and the small diamond 
elements in F. The tensioning of the warp threads in piece 




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Fig, 80. — Examples in Crepe Weaves, 



WEAVE ELEMENTS 



203 



weaving is an important technicality? in obtaining the crepe 
characteristic in these goods. With the yarns easily deUvered 
from the warp beam, the surface of the cloth becomes of the 
right formation, but with undue strain on the yarns, the weave 
features and the crepe quaUty of the cloth become less defined. 
This apphes in the apphcation of weaves of this category, 
whether produced in cotton, silk, or worsted yarns. So-called 




Fig. 81. — TiiKEE-AND-TiiREE Mat Fabric-Spotted. 



sponge cloths are also obtainable in crossings of a similar 
structure to those in plans D and F. 

153. Warp Cords and Cord Twills (Fig. 83). — Warp and weft 
cords or repps have been referred to as derived from the plain 
weave. Warp cords of this class form lines across the texture 
by one group of threads (1, 3, etc.), and a second group of 
threads (2, 4, etc.), floating in turn on the two sides of the 
fabric, as in sections a and b of plan A^ (Fig. 70) ; and the 
weft cords form lines lengthways of the cloth by the odd and 
even picks successively covering the warp ends as at o and d 



204 DRESS, BLOUSE, AND COSTUME CLOTHS 

in plan A^ (Fig. 70). These two kinds of woven effect are seen 
in stripings a of Fig. 84d1 and in lines d of Fig. 54. 

The difference in the textural surface tnus produced, in 
forming the effects either in warp or weft, will be better under- 
stood on comparing the specimens in Figs. 81 and 82, one a 
3-and-3 mat, and the other. Fig. 82 (section a) a 3-and-3 warp 
cord. In the mat cloth, where the warp threads are brought 
on to the face, the weft picks float soUd underneath them, but 
in the cord stripe (Fig. 82) odd threads cover the even threads, 




and the latter the former, so that each surface of the fabric 
is composed of warp yarns. Turning the specimen round, and 
taldng threads for shots and shots for threads, would convert 
the effect into a weft cord structure, or one in which the odd 
picks would conceal the even picks and thereby produce 
a fabric with both sides developed in weft yarn. Such princi- 
ples of fabric building provide for certain descriptions of pattern 
development by 1-and-l colouring in the warp in simple warp 
cords, and in the weft in simple weft cords. The striped lustre 
cloth in Fig. 83 is suggestive of the kind of design features 
which may in this way be developed. The plain sections of 
the pattern are woven in 2/40's cotton warp and shuttled with 



WEAVE ELEMENTS 



205 



30's lustre weft, and the apparent mat effects are woven in 
4-and-4 warp cord, coloured one thread of black and one 
thread of white. Under the black threads the white are 
floated, and under the white threads, the black. The plan 




6 & 

Fig. 83. — ^Lustre Stripe. 



(Fig. 83a) shows how the 4-and-4 war pcords are combined 
for weaving the stripings in this specimen. The black and 
white threads in the texture are marked in S's and in Ill's in 
the design. As the order of warp is 1-and-l and the two 




a b a 

Fig. 83a. — Design fob Specimen in Fig. 83. 

groups of threads a and b (Fig. 83a) change positions relative 
to the colouring, they also alternate the positions of the two 
yarns on the face and back of the cloth. If the warp arrange- 
ment should be altered to one black and one white for 4 threads, 
and to one white and one black for 4, the weave usable would 
be the ordinary warp cord This system of pattern-work, and 



206 DRESS, BLOUSE, AND COSTUME CLOTHS 

of cloth construction in repp weaves, is utilized in striping, 
checking, and figuring, combining tcarp and weft-face cord 
plans. 

Strictly, the effects defined are repps, and differ from the 
cord type of weave illustrated at A, B, and C (Fig. 84). These 
plans make corded stripes, and combine the effects of a cord 
and a repp type of cloth. In A, Fig. 84, and also in sections 
a and a^ (D Fig. 84) groups of threads interlace plain or prunelle 
twill on the face, with the weft yarn passing underneath. 
Plan A shows the correct system of plain repp or cord construc- 
tion, and the fabric structure is clearly illustrated at Fig. 84a1. 
Picks 1 and 3 interlace plain on the face with threads a, and 
picks 2 and 4 interlace plain on the face with threads b, so 
that the plain texture made by threads a and the odd picks, 
cut the plain texture made by the threads b and the even 
picks, which produces the " cord " stripe. For making a weft 
line, in combination with the cord stripings, the weaves are 
arranged as in plans B and C (Fig. 84). Here the even picks, 
while floating under threads a, as in plan A, cover the four 
threads in section 6, and this gives the weft piping seen in 
Fig. 54, the design for which consists of 8 threads of plain 
rib, and 4 threads of weft cord. Plan C is a prunelle-twill 
cord with weft stripe effect, and plan D a striped prunelle- 
twill rib stripe, parts a, a^, and a being combined with a warp 
cord d. This plan forms the looming design for the pattern in 
Fig. 84d1. Twilled ribs may be plain, weft, or warp effect on 
the face, and composed of one or more weave units. The 
example E (Fig, 84) is a plain twilled rib, F a weft repp twill, 
G a compound of weft cord and prunelle twill, and H a com- 
pound of warp cord and plain rib, G giving a twilled cord in 
the weft, and H a twilled cord in the warp. 

Corduroy and Bedford cords are an extension of the principle 
of plain rib weaving illustrated in A, Fig. 84. The unwadded 
type of plan is that seen in I, Fig. 84, and the wadded type, that 
given at J, Fig. 84. For acquiring a full rib or cord in this make 
of cloth, the several ribbed stripes not only cut each other, as 



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208 DRESS, BLOUSE, AND COSTUME CLOTHS 

in an ordinary cord, but plain interlacing threads — marked 
in [x]'s in plans I and J — divide one cord from another. It will 
be observed that picks 1 and 2, and 5 and 6, intersect in plain 

b 




Fig. 84a\— Plan A, Fig. 84. 




Fig. 84b^— Plan B, Fig. 84. 
Sections of Cord Structures. 

order on the face in section a and float underneath the threads 

in section b, and that picks 3 and 4, and 7 and 8, float underneath 

d a d a d a d a d a d a 










Fig. 84di. 



the threads in a and intersect plain on the face in section b. 
This method of alternately intersecting and floating the two 
series of picks has the effect of drawing the two groups of 
threads, composing the ribbed stripes a and b, into a compact 



WEAVE ELEMENTS 



209 



cord form. The two plain ends, marked in S's and inter- 
vening the stripings, develop an indented or cut line lengthways 
of the cloth. The " wadding " threads, printed in grey in 
J, Fig. 84, pass between the plain-woven surface and the weft- 
flushed back of the texture. Such yarns impart fullness to the 
rib or cord character, 

154. Compound Twills and Diagonals. — The diagonal is a 
pronounced or bold style of twill composed of lines of different 










'0^ 







p p 

Fig. So. — Checked Diagonal. 



widths and traversing the cloth at a definite angle. It may 
be defined as a variety of twilled stripe with each sectional part 
filled in with similar or various weave details. Being thus 
formed, it may be either a combination of simple or complex 
weave units. As a rule the weaves should contrast in the 
textural effects they produce. Fig. 85 is an example con- 
sisting of broad lines of plain make in contrast with lines 
woven in weft twills, that is, of the two weave units seen in 
the sectional plan (Fig. 85a). Though this dress pattern is 
warped and wefted 6 threads of white and 6 threads of dark 
blue, which gives in the plain and twilled parts a j)laid or 

14— (5264) 



210 DRESS, BLOUSE, AND COSTUME CLOTHS 

check, yet the effects due to the diagonal formation are dis- 
tinctly visible. If portion T of the design is examined, it 
will be seen that here the checkings in the fabric lose their 
symmetry of structure, owing to the shots of weft being floated 
to a larger degree on the face than the threads of warp, whereas 
in the parts P, the effect of both yarns are ahke in character. 
One result of combining weave units on this principle is the 
production of a cloth in which the interlacings— however 
diversified these may be in the plans combined— are equally 
balanced in the repeats of the woven style ; whereas to combine 
weaves P and T (Fig. 85a) in a striped or checked form would 
give parts of the fabric in a fast, firm structure and other parts 
in a loose, open structure. The angle at which the assorted 




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twills run in the cloth obviates irregularities of this quality in 
all varieties of diagonal designs. 

Four factors have to be taken into account in this class of 
pattern origination : (1) the capacity of the loom, which 
determines the scale of the design ; (2) the proportionate sizes 
of the " effect lines " in the pattern ; (3) the selection of weaves 
which harmonize and contrast with each other in textural 
detail ; and (4) the set of the cloth and the yarns of which 
it is made. 

In shaft mountings the scale of the designs, unless drafting 
is practised in the healding of the warp, is Hmited to 24, 32, 
and 36 threads, or to plans of the dimensions seen in 
Figs. 86, 87, and 88. The two former have the fancy warp mat 
in common, but Fig. 86 consists of two lines, A and B, with 
the irregular hopsack line the larger in size ; and Fig. 87 



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212 DRESS, BLOUSE, AND COSTUME CLOTHS 

consists of four lines , A, A^, B, and B^, with the two latter 
equal in width, mth A^ formed in a single weft twiU, and with A 
in a 6-end twill arranged 3^x~- Here the manner of attaining 
diversity of style is due to the difference in the structure 
of the weave elements, and to a variation of " line " breadth. 

Fig. 88 suggests the practice of combining warp and weft 
face weaves (diamond makes) and of separating the two effects 
from each other by small knitthig lines in plain, while Fig. 89 
is suggestive of the metliod of using weaves gradually 
decreasing in weft floats. For instance, band A is composed 
of y-, 4 -, "3^, and -3- twills, and band B of the same weaves 
reversed, namely of y^, y-, y-, and y- twills. The demarcation 
between tiie two effects is again acquired bj'' dividing lines in 
plain make. For shaded diagonal patterns, either this de- 
scription of weaves or sateens (Fig. 90) are utilized. The 
shading does not originate from the use of light and dark 
tones in the warp and weft yarns, but from a gradation from 
a maximum to a minimum warp ingredient, as indicated in 
this example, consisting of 5-end sateen weaves, or of the y-, 
2^-, 3^-, and 4— crossings. Seven, eight, nine and ten-shaft 
sateens are also employed on this basis, with the angle of the 
diagonal running as shown in Fig. 90, or in a more oblique 
direction, as would be the case by inverting the whole design. 

155. Checkings or Dice Patterns. — The form of checking 
here implied is that derived by taking a simple weave 
unit (twill, irregular mat, etc.), and reversing and transposing 
it as shoAvn in plans A, B, C, and D (Fig. 91). The effects 
marked in I's make the basic factor in each example. First, 
this factor is reversed in the picks and turned to the right as at 
b ; second, it is reversed in the threads and similarly turned at 
c ; and, third, detail d is obtained by reversing either the 
threads of b or the picks of c. Many varieties of neat and 
effective weave styles are framed in this manner. Simple and 
fancy twills, or parts thereof, are selected as a " motive " or 
" motives " of a special design on a fixed number of ends and 
picks, and then dealt with on this principle. 



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214 DRESS, BLOUSE, AND COSTUME CLOTHS 



156. Waved Effects (Figs. 92 and 93).— Wave, zig-zag, or 
serpentine weave patterns, are primarily derived from a 
twilled base. The waved lines may run in the direction of the 
warp as at A and C (Fig. 92) obtained from the prunelle and 
the cassimere twills, or in the direction of the weft as at B 
and D, and obtained from the y- and the 3^- twills. It should 
be noted that these differ from " angled " and " herring-bone " 









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twilled stripes, inasmuch as the waved effect is constructed by 
turning the movement of the twill at a point, whereas in the 
" angled " patterns, the twill is turned at a juncture which 
provides for the warp and weft intersections opposing or 
cutting each other. In addition to the ordinary twills being 
adapted for this class of design, warp and weft cord twills are 
also suitable for the production of serpentine or zig-zag, styles 
as seen in plans E, F, G, and H, composed of A^ (Fig. 74), 
Ai (Fig. 78), and A^ (Fig. 76). The size of the bands of which 



WEAVE ELEMENTS 



215 



the wave is formed, and also the size of a repeat of the design, 
are variable. In E the waved lines consist of 3, and in F of 




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Fig. 92, Plans A to G. 
Examples in Waved or Zig-zag Weaves. 

5 floats of warp, so that the pattern repeats occupy 12 and 
29 threads respectively. Plan H is formed of repp weaves 
of different sizes. 



I. 





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Fig. 92, Plans I to J. 
Examples in Waved, Serpentine or Zig-zag Weaves. 



WEAVE ELEMENTS 217 

Such serpentine lines may be developed in types C 
and D by using a light warp and a dark weft yarn, and in 
types E, F, and H by colouring thread-and-thread in two 
shades of the warp, and in type G, by shutth'ng 1-and-l with 
two colours of weft. Drafting the designs in the order of the 
numerals at the base of plan 1 gives a series of waved liaes 
diversified by a striped band in diamond formation. Either 
the diamond or the serpentine sections are repeatable to give 
any definite scale of design. Healding the warp, as indicated. 



Fio. 93. 

involves the employment of the first seven threads in the weave 
as the reduced or looming design. The zig-zag effect may be 
worked into a twill or diagonal as in examples J and K, the 
former being in the ^-~ twill and the latter in the 8-shaft twill, 
-g^y-. Waved lines are also used for striping in combination 
with ordinary twilled weaves on the system shown in the 
specimen at Fig. 93, where the effects W are produced in weft 
twill and the effects A in fine warp twill. 

157. Diamond, Diaper, and Lozenge Structures. — These form 
a common and useful variety of fabric design. Plans 
A and B (Fig. 94), developed in warp effects and consist- 
ing of the Y^ and the y- t\vills, are composed of 12 and 16 ends 
and picks respectively. Patterns of this character are also 
producible on a larger scale, but, as sketched, they adequately 
suggest the method of acquiring the diamond pattern in both 
ordinary and fancy twiUs. The basic hues of the diamond to be 



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Fig. 94, Plans I to L. 
Examples in Diamond Weaves. 



220 DRESS, BLOUSE, AND COSTUME CLOTHS 

originated are first determined, and then these are transposed 
as in making dice checkings. This principle of work is also 
followed when the twills are elaborated as in F and G, where 
section a, occupying the first 8 threads and picks, is the weave 
element transposed at b, c, and d. A further method of 




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D. E. 

Fig. 95. — Examples in Transposed Weaves. 



construction is to mark intersecting lines centrally on the 
point paper as in D. This divides the area of threads and 
picks equally into diamond spaces, which are then filled in 
with small details as in the portions marked in Bs. The 
intersecting lines may be duphcated one or more times as at 
G, H, and I, allowing, in the construction of the design, of the 
intermediate spaces being composed of a weft spot as at F and 
H, and of a diamond spot as at I. These lines maj^ be further 



WEAVE ELEMENTS 221 

formed in weft or fancy twills, e.g. plan J in a 3-weft float 
twill, with the diamond area composed of intersecting lines, 
or of lines of warp and weft twills running to the right in 
section a, and to the left in section b. 

The lozenge is but an elongated diaper or diamond. At K 
it is made in warp cords and elongated transversely, at L in 
weft cord and elongated in the direction of the picks. Obvi- 
ously by using the twills with a " move " of two or several picks 
for each thread, as at plan M, the elemental lines divide the 
area of the design into lozenge figures, which are decoratively 
treated as in the diagonal patterns described. 

158. Transposed Types. — In devising weaves of this class 
an " effect " is first formed and then geometrically transposed. 
In plan A (Fig. 95) the " effect " consists of two simple twilled 
lines, and in plan B, of a rectangular spot. When such are 
correctly set in relation to each other, and leaning in opposite 
directions, they leave a series of threads and picks uninter- 
sected. If the " effects " are minute in character, as in plan C, 
the intermediate or ground spaces may be filled in with 
supplementary lines, transposed to agree with the basic 
features. Other schemes of construction are typified at D and 
E with more pronounced twilled lines. All such principles 
of patternwork are extensible, and may be further elaborated, 
in large designs, by the type and variety of the weave elements 
combined. 

159. Mock Lenos. (Fig 96). — From this description of cross- 
ings, imitation gauze, leno, and more or less perforated fabric 
structures are obtained. Openness of structure is emphasized 
by the system of reeding or sleying, vacant dents being allowed 
between the several groups of threads into which the weaves 
are divisible. For example, the different plans under Fig. 96 
may be sleyed as sho^'^^l in the table on page 222. 

Weaves A, B, and C are made on the same basis, only being 
modified by the insertion of 2 picks in a shed on shots 3 and 4 
and 6 and 7 in plan B, of 3 picks in a shed on shots 2, 3, and 4 
and on 7, 8, and 9 in plan C. A looser and more matted 



222 DRESS, BLOUSE, AND COSTUME CLOTHS 



Plans. 
Fig. 96. 


Method of Reeding. 


A, B and C 


3 threads in a dent and one dent vacant. 


D and E 


4 


F 


Dent (1) threads 1 and 2, one dent vacant. 
„ (3) „ 3, 4, and 5. 
,, (4) ,, 6, 7, and 8, one dent vacant. 


G 


„ (1) „ 1, 

„ (2) „ 2, 3, 4, 5, and 6, 

„ (3) „ 7, 

„ (4) „ 8, 9, 10, and 11. 


H 


5 threads in a dent and one dent vacant. 



character of fabric is obtained by this principle of intersection 
than by using type A. Weave B is the standard canvas make ; 
E gives a faint twilled effect, and F a fine checked feature in 
the texture. In plan G, the warp is floated on the face 
and the weft on the back between the threads and picks 
marked in 0's, while the intersections in B's give a plain 
central structure. This method of plan-making is shown in 
another form at H, where sections b are the reverse of 
sections a. 

160. Honeycomb Plans. — Several plans of this category are 
reproduced at A to I (Fig. 97). They result in a species of 
cloth resembling in effect and in appearance the structural 
formation of honeycomb. Their appUcation, in dress fabric 
weaving and designing, is varied, for the plans may be rendered, 
by the system of loom-setting practised, useful in the manu- 
facture of cotton, worsted, cotton and silk, linen and silk, 
and worsted and mercerized cotton goods. Weave construc- 
tion is carried out on the diamond schemes of plan making, 
with, however, one series of effects, either warp or weft, 
similarly or better emphasized than the other. With the 
enlargement of the plans, and also with the method of grouping 
the knitting ends and picks surrounding the diamond-shaped 



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224 DRESS, BLOUSE, AND COSTUME CLOTHS 

spottings, the styles obtainable may be considerably modified. 
In all instances the build of the fabric is comparatively loose 
or unstable in character, a technicahty which is not lessened, 
but somewhat aggravated by the system of open reeding 
which is adopted. In the examples, weaves A, B, D, and G 
are of the standard type, that is, with one diamond figure in 
weft opposing a similar diamond figure in waip. Weave C 
is the reverse or underside effect produced by using plan B, 
and E, the reverse of plan D. Plan F shows the system of 
adding to the plain details, which would give a stronger build 
of cloth, but the diamond spottings are not in immediate 
contact with each other as in C and E. A further elaboration 
of the structure is given at H in which the diamonds are fore- 
shortened, and picks of weft cord take the place of plain inter- 
lacings. This type of design is also made with threads of 
warp as well as picks of weft cord. The grouping of the effects 
observed in plan I is the one used in the making of the 
" Brighton " class of honeycomb. 

161. Huckabacks and Weaves giving a Rough Surface. — 
Another description of rough surfaced cloths, only shghtly 
resembhng the honeycomb, is acquired in huckaback weaves, 
such as A and B (Fig. 98). These have generally a plain 
ground with certain ends and picks floated on the face and 
on the back of the fabric. The simple form of this weave is 
given at A, where alternate sections of the plan interchange 
with sections woven in weft on the face and in warp on the 
back, with plain interlacings laying between the warp and weft 
floated yarns. In plan B the effects at a are seen reversed 
at b. The reversing of the two structures is, in this example, 
done in checked order, but it will be understood that the 
ground of the fabric may be plain, and that the effects in a 
and b may be distributed in twiUed hues, or they may be 
arranged on a striped or spotted base. In manufacturing 
cloths of this Idnd, the character of the details, due to the 
weave plan, is well developed by using yarns firm or hard in 
twine in both warp and weft, whether worsted, cotton, or hnen. 



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Fig. 97, Plans A to G. 
Examples in Honeycomb Weaves. 




15— (5264) 



226 DRESS, BLOUSE, AND COSTUME CLOTHS 

162. Sateens. — For making smooth and even-surfaced 
fabrics, sateens are the weaves to employ, on account of the 
intersections of the warp and weft faihng to support each 





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Pig. 97, Plans H and I. — Examples in Honeycomb Weaves. 



other, as in the plain make, the common twill, and the mat. 
The broken 3^- twill is regarded as the simplest sateen, but it 





Fig. 98. — Huckaback Weaves. 



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228 DRESS, BLOUSE, AND COSTUME CLOTHS 

sateen construction, where the intersections are separated by 
single or multiple threads and picks. 

Sateen crossings on 5, 7, and 8 threads are standardized 
in the silk satin, in the linen, cotton or worsted damask, in 
the cotton satinette, and in the doeskin or faced-finished 
woollen or worsted cloth. These several builds of fabric are 
reproduced in modified forms in dress goods, in which they 
widely differ in substance and quality with the loom setting 
appUed. As understood, a sateen may result in cloths with 
either a preponderance of warp or weft on the upper surface, 
so that in the combination of two sateens such as e and /, 




Fig. 100. 



plans A to D (Fig. 99), section e would yield warp-face and 
sections / weft-face effects. This plan of using the two weave 
units is practised in the production of figured designs as well 
as of patterns of a spotted, striped and checked composition. 
The checked linen fabric in Fig. 100 is, for example, obtained 
in a design consisting of 25 ends and 5 picks of weave /, 20 
threads and picks of weave e, and 5 ends and 20 picks of weave 
/ of plan A, Fig. 99. 

Textural contrasts in such compound weave styles are clearly 
defined, the warp and weft surfaces being equally smooth 
and lustrous, if the threads and picks per inch in the cloth are 
balanced, and if the warp and shuttling yarns employed are 
of similar counts and quality. In accordance with the differ- 
entiations in these technicalities, special decisiveness of tone 



WEAVE ELEMENTS 229 

is imparted to either the warp or weft unit in the woven 
manufacture. 

The 6-end sateen is irregular in formation. It should be 
constructed as at e and /, plan C (Fig. 99). While not fre- 
quently used in the production of piece goods on account of 
developing a striped twill feature in the fabric — 3 threads 
or picks running to the right, and 3 to the left alternately — 
yet it is an effective basis for figure arrangement and dis- 
tribution, in common with the 5-shaft and 8-shaft weaves. The 
8-shaft sateen is constructed in two forms, namely, as at D, 
with the interlacings in regular twilled order, and as at D^, 
with the interlacings grouped in sets of four. The latter type 
is well adapted for duphcated spotted designs on the principles 
dealt with in Chapter VII. Nine, 10, 11, 12, and 13-shaft 
makes are given at E, ES F, F^, G, G^ G^, H, ff, and I, F. 
Each plan is capable of being used as a basis of weave origina- 
tion, for which purpose it is only necessary to add to each 
intersection mark in the sateen, as illustrated in plans B and E 
(Fig. 101), made respectively on the 11 and 13-shaft sateens. 
This method of utihzing the sateen is common in originating 
weave styles. With the mathematical plan of intersections 
which the sateen weave provides, the makes built on this basis 
are necessarily symmetrical in arrangement. Detail changes 
in the distribution of the supplementary intersections are 
sufficient to completely modify the character of the weave 
design acquired. This will be noted on comparing E and F 
(Fig. 101). The former is based on I and the latter on P 
(Fig. 99), or on two types of 13-shaft sateens. In making F, 
five dots have been added to each sateen mark, giving an 
elongated weft effect ; while in making E, four dots have been 
added to the sateen base, forming squares of weft, with other 
intersections running in twilled hnes. 

Further, weaves of another category are obtained on this 
system by enlarging the bases themselves either in the picks 
or in the threads, or by the dupUcation of both threads and 
picks. Weaves formed ou the first of these principles of 



230 DRESS, BLOUSE, AND COSTUME CLOTHS 

extension, are of an oblique twilled type, on the second of 
an upright twilled character, and on the third of a fancy 
mat structure. 

163. Twilled Mats. — Mats or hopsacks, in which the squares 
of either warp or weft run in a twilled direction, constitute 
one of the principal varieties of weave design. They are well 
adapted for producing cloths level in build and neatly diversi- 
fied in pattern results. Unlike the common mat, in which 
the minute rectangular effects are alternately woven in warp 
and weft floats, these weaves (A to F, Fig. 101) give the mat 
details in iveft floats in section a, and in warp floats in section b. 
The possibility of producing in this way the " mat " in the 
fabric in the warp or in the weft yarn, renders the crossings 
applicable to reversible styles of pattern, or cloths in which 
the effects on the face and on the back, due to either the scheme 
of interlacing or to the colourings of warp and weft yarns used, 
are exactly transposed. The weaves are therefore suitable 
for combination with each other. Taking plan A (Fig. 101) 
if produced in a light warp and dark weft, the mat interfacings 
oil the face in section a would be in dark colour, and in section b 
in light colour. Without, however, using any contrasts in 
yarn colour, the weaves themselves are sufficiently different 
from each other, when thus transposed, to produce clear 
pattern forms. The examples illustrated have the mat 
spaces, in section a, in warp effect, and the mat spaces in 
sections b in weft effect, and comprise — 

Fig. 101 A 8-Shaft Twilled Mat 

„ lOlB = 11-Shaft 

„ 101c = 12-Shaft 

„ lOlD -= Modified 12-Shaft Twilled Mat 

„ 10 lE = Modified 13-Shaft 

,, lOlP = Elongated 13-Shaft „ 

„ 101c'= 16-Shaft Twilled Mat 

„ 1 lF'= Modified 16-Shaft Twilled Mrt 

These several mats are grouped in striped pattern forms to 
show the method of weave combination, and also how the 
types of effect obtainable, in each weave, differ from each other 



232 DRESS, BLOUSE, AND COSTUME CLOTHS 

by developing the mat or hopsack features in warp and weft 
interlacings. The modified mats on 12 and 16 threads give 
a faster build of texture than the mats from which they are 
derived, but the squares of effect formed are less accentuated 
than in plans C and C 

The distinctive and uniform structure of twilled mats, 
arranged on the sateen base, is evident in these examples. 
Sateen weaves such as the 10, 14, and 15-shaft units, are also 
employed in the origination of this class of hopsack, in addition 
to the weaves as constructed on the 11, 12, 13, and 16-shaft 
bases, and seen at B, C, D, E, and F in Fig. 101. 

164. Point Paper Plans and Fabric Construction. — Cloth 
building and designing, as so far analysed, has been shown to 
consist in weave origination and in loom-setting. The two 
factors are inseparable and give to the subject both a theoretical 
and experimental aspect. The point paper plan is illustrative 
of the theory of warp and weft interlacing, and the textural 
product this plan is made to give by the yarn counts and 
qualities employed, and by the ends and picks inserted per 
inch in the piece, is representative of the practice in cloth 
making. In theory, as is evident in the weave bases and types 
dissected and explained, plans are formable diversified in 
effect and in scheme of fabric production. These theoretical 
designs are also varied in manufacturing possibilities. Plans 
of intersection which prove satisfactory and result in new and 
successful cloths when correctly set in the loom, result in 
cloths imperfect in surface and deficient in wearing property, 
when the setting is disproportionate with the schemes of 
intersection of which the plans are composed. 

There are certain general elements in applying different 
weaves to all classes of dress, blouse, and costume goods, 
which have to be considered, such as — 

(1) Warp-face weaves as a rule provide for fuller setting in 
the threads than in the picks, and weft- face for fuller setting 
in the picks than in the threads. 

(2) Weaves balanced in the warp and weft intersections, 





E. 






V. 




A. B. C. D. 




a. 




Fig. 102.— E^xamples in Sijc-Shaft Weaves. 



234 DRESS, BLOUSE, AND COSTUME CLOTHS 



or nearly so, allow normally of equal setting in both ends and 
picks per inch. 

(3) In acquiring open cloths of a canvas description including 
loose mat structures and broad textural details, the setting, 



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Fig. 103. — Examples in Seven-Shaft Weaves. 

should the weave be composed of groups of alternating fast 
and loose interfacings, as in weaves of the imitation gauze class, 
should be comparatively loose both in the reeding and in the 
wefting, but should the weaves be of the type seen at G, H, 
and J (Fig. 112) fairly firm setting is desired to give stability 
of fabric construction. 

(4) For developing in a special degree the warp details, 



WEAVE ELEMENTS 



235 



as in plan F, Fig. 103 ; A, Fig. 105 ; C, Fig. 109 ; and C, Fig. 
1 1 1, about 5 to 10 per cent, closer warp than weft setting might 
be adopted ; but for developing the weft features in a special 










degree, the density of threads and picks per inch may be 
approximately the same, with, however, the weft yarns thicker 
in counts, as, for example, in producing cloths in plans built 
on the principles indicated at E (Fig. 108) and D (Fig. 111). 



236 DRESS, BLOUSE, AND COSTUME CLOTHS 

(5) Cloths intended for contraction in finishing, allow of the 
setting being from 7| to 12| per cent, below that ascertained 
in any particular weave on the yarn diameter and inter- 
section basis, with the pieces proportionately wider in the loom 
for the standard finished width. 



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Fig. 105. — Examples in Nine-Shaft Weaves. 



Apart from these radical principles, there are other governing 
technicalities only reaUzable and adjustable in so far as experi- 
ments are carried out in the loom. The whole subject bristles 
with difficulties, but the difficulties are exactly of that kind 
which, in the solving, give types of design yielding effective 
woven styles. 

165. Weave " Gamut " and Shaft Mountings. — The study of 
" weaye " design as originated from, and elaborated on the 






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238 DRESS, BLOUSE, AND COSTUME CLOTHS 

standard bases referred to, exhibits the range of fabric struc- 
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makes of a semi-perforated, sateen, diagonal, honeycomb, and 
checked order. But these are far from covering the varieties 
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offers a gamut of elements for weave -planning, and for cloth 




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production in ordinary, as well as in specialized groups of 
crossings. The examples given, therefore, acquired on ele- 
mentary twill bases, will be supplemented by the several 
series of weaves producible on multiples of threads requiring 
from six to sixteen-shaft mountings. 

Primarily, it has been shown that on 4, 5, 6, and 7, etc., 
threads or heddles, twills, mats and sateens are obtainable of a 
similar structure in each group of shafts, but differing in the 



WEAVE ELEMENTS 239 

dimensions of the floats of warp and weft yarns in the two 
former, and in the latter in the scale of the warp or weft 
intersections. Adopting increased closeness of setting as the 
floats increase in size, gives a finer and better grade of cloth, 
while adopting the same or a corresponding setting, and using 
thicker yarn counts, gives a coarser and heavier make of cloth, 
with the dimensions of the interlacings or the " effects " 
broader in character. In the case of crossings on sateen 
bases of an identical formation {see twilled mats on 8, 10, and 
13 shafts, Fig. 101) the intersection points are less frequent 
with the enlargement of the weave plan. 

The significance and value cf these factors come out in cloth 
manufacture. Assuming, for example, that the effects of a 
selected plan are satisfactory in a fabric of a determined 
setting, and that (a) a finer cloth is required of a similar textural 
character, but in a weave of a larger number of threads, then 
in using the same yarns the setting would be proportionately 
increased ; (6) that it is required to develop more pronounced 
textural features in the selected weave, then the basis or 
number of threads on which the weave is constructed would 
be enlarged ; and (c) that a better definition is desirable in 
either the warp or weft details, then an alteration may be made 
in the weave, changing the shaft mounting, and also the warp 
and weft threads per inch, increasing or decreasing these in a 
fixed and relative ratio according to which class of detail, warp 
or weft, it is intended to emphasize. 

166. Six, Seven, and Eight-Shaft Weaves (Figs. 102, 103 and 
104). — Weaves occupying a small number of shafts have two 
distinctive applications : (1) in cloth building, and (2) as units 
in figured pattern development. The second application wiU 
be illustrated in treating of compound designs and of the 
principles of figuring. Cloth building, as due to the weave 
plan, not necessarily derived from ordinary twiUs, but from 
more original weave units, is exemplified in the groups of 
weaves seen in Figs. 102 to 112. A consideration of these 
suggests the degree to which the geometric planning of the 




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Fig. 108, Plans A to P. — Examples in Twelve-Shaft Weaves. 



WE A VE ELEMENTS 



241 



intersections may be made to give, in each group of threads, 
types of effect strongly differing from each other in form and 
arrangement, and also, in the build and style of fabric they 
produce. Though, for example, the 6-shaft weaves in Fig. 102 
are restricted to this small number of threads, they include the 
detail twills A, D, and G ; the angled twdll F ; the transposed 





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Fig. 109. — Examples in Thirteen -Shaft Weaves. 

make H ; the cut check C ; the broken mats E, I, L, and M ; 
the waved -3- twill cutting in the picks K ; and the whipcord 
plans N and 0. Changing the shaft mounting to 7 heddles 
(Fig. 103) renders it possible to obtain other classes of effect, 
especially twills of a fine warp or weft character, and with the 
angle of the twill varied. Plans B, D, E, and F, each 
repeating on 14 picks, are seen to be distinct from each other 
in the warp lines, and in the detail interlacings ; with plan C 
yielding a sort of twilled mat, and G composed of sections of 
-3-- twill forming small diagonal lines. Increasing the shaft 
multiple to 8 (Fig. 104) enables other intersection bases to 
be devised of quite another description to those arranged on 

16— (5264) 



242 DRESS, BLOUSE, AND COSTUME CLOTHS 



6 and 7 shafts. The makes typified include reversed check 
effects, A and H and J and O ; varied twills as in the mat 
and warp lines details in plan B ; the warp line and diamond 




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Fig. 110. — Examples in Fourteen-Shaft Weaves. 



spotted plan D ; the fine warp twills L and N ; Mayo effects 
E, F, K, and P ; and the transposed and spotted types G and I. 
More elongated twilled patterns than those included in this 
series, and formed on 16, 24, and a larger number of picks, 
have already been dealt with in Paragraph 151. 

167. Weaves on Nine, Ten, and Eleven Shafts (Figs. 105, 106, 



WEAVE ELEMENTS 



243 



107). — ^An analysis of these shows how the intersection types 
become increasingly diversified in detail in the larger systems 



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Fig. 111. — Examples in Fifteen -Shaft Weaves. 

of shaft-mounting. The examples A, B, and C in Fig. 105, 
resemble weaves producible on 7 shafts, but those at E, F, and 
G comprise quite another class of weave, E being a spotted twill, 
F a fancy twill with a preponderance of weft, and G a clear 
warp twill in a line with a weft twill in small spottings. The 



244 DRESS, BLOUSE, AND COSTUME CLOTHS 

10-shaft base, like the 8, enables weaves of a regular, and also 
of a fancy character to be constructed ; thus A, B, and C, 
(Fig. 106) are of the twilled order, plan A being a fine warp 
effect, B a crepe, and C consisting of a line of twilled mat 
crossed with warp details. Weaves D and E are transposed 
effects developed in warp and weft respectively. Plan F is 
arranged on a double 5-end sateen base. Adding to the 
number of picks in the weaves gives the type in H to N, namely, 
a 10-shaft spotted plan H, a weft cord twill I, and the small 
diagonal patterns J, K, L, M, and N. The 11 -shaft makes 
(Fig. 107) are still more diversified in textural detail, A and B 
being oblique twills, C and D crepes, E a weft cord and warp- 
face twill compound, and F, G, and H " effect " twills due to 
constructing a small " motive " and grouping the repetitions 
of it on an extended sateen base. 

168. Weaves 07i Twelve, Thirteen a7id Fourteen Shafts (Figs. 
108, 109 and 110). — The principal types on 12-shafts, as 
illustrated in Fig. 108, include — 

(1) Shaded Twill, A. 

(2) Weft-striped Effect, B. 

(3) Hopsack T^vills, and H. 

(4) Weft-effect Twills, E, D and L. 

(5) Warp-twill and Diamond Effects F and G. 

(6) Mat-spotted Type, with warp twill ground, I. 

(7) Mat and " Swansdown " Twill, J. 

(8) Pattern composed of 2^ twill to the right and 2' twill to the 
left, K. 

(9) Weft-face TwiU, M. 

(10) Transposed Plan, with mat ground, N. 

(11) Compound Twills, O and P. 

On 13-shafts (Fig. 109) similar plans are formable as on 11, 
and also the types shown at A to E (Fig. 108) as well as others 
of a definite diagonal character by extending the picks. The 
weaves illustrated are distinct in formation, A being of a 
matted structure, B a weft cord and fine Avarp twill, C a clear 
warp twill, D a modification of B, and E a hopsack twill. The 
examples on 14 shafts (Fig. 110) include plan A composed of 



LP B JTP 





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246 DRESS, BLOUSE, AND COSTUME CLOTHS 

double plain and step twill, B constructed on a diamond base, 
C on a sateen base, and D on a duplicated 7-sliaft sateen base. 
Plan E is due to the extension of the threads and picks of 
plan A (Fig. 103). 

169. Weaves on Fifteen and Sixteen Shafts (Figs. Ill and 
112). — Several 15-shaft weave units are given in Fig. 111. 
They are illustrative of compound twilling, plan A ; of warp- 
face twilling, plans B and C ; of weft-face twilling, plan D : 
and of corkscrew twilling, plan E. 

A number of the 8-shaft weaves are subject to enlargement 
by doubhng the threads and picks, producing them on 16-shafts 
for giving open pattern elements as in plan I (Fig. 112), an 
enlargement of plan P (Fig. 104). Diagonal patterns are also 
obtained on 32 or more picks, and by the designing practices 
explained in Paragraph 134. The 16-shaft plans reproduced 
in Fig. 112 comprise — 

Plan A = A Step Twill. 

B = A Whipcord Twill. 

C = A Fancy Warp Twill. 

D = A Transposed Effect with mat features. 

E = A Diagonal Twill. 

F = A Waved Twill. 

G = An Open-structure of Transposed Pattern. 

H = A Compound Mat Check. 
Plans I and J = Doubled 8-shaft Weaves. 

It should be observed that the various weave structures 
included in these examples are not only employed as 
illustrated, in which the blanks represent warp interlacings, 
but also with the marks taken as warp and the blanks as weft 
effects. With either the warp or the weft features pre- 
dominating in the plans, the weaves are suitable for reversing, 
and also for combination with each other in producing 
striped, checked, and other varieties of design. 



CHAPTER VI 

DRAFTED PATTERNS : STRIPES 

170,— Angled-Twill Stripes. 171.— Designs on a Small Number of 
Shedding Units. 172.— Effects on Two Shafts. 173.— Checked Pat- 
terns on Two Heddles. 174.— Designing on Three Shafts. 175.— Repp 
Patterns. 17G.—Twilled-Repp and Mat Stripes. 177.— Matted Stripes 
178. — Multi-form Character of Derivative -Weave Stripes. 179. — The 
Combination of Weaves of Different Interlacing Principles. 180. — 
Fundamental Features in Forming Weave Stripes. 181. — Fine Line 
Pattern Types. 182. — Stripes in Twills of Different Angles. 183. — 
Uses of the Plain Make in Striped Designs. 184.— Mock Leno Strip- 
ings. 185.— Zephyrs and Lustres. 186.— Warp and Weft Pattern 
Effects. 187. — Fancy and Special Weave Stripings. 188.— Inverted 
Weave Struetiu-es. 189.— Striped Figured Designs. 190.— Lace 
Stripings. 

170. Angled-Twill Stripes.— The term drafting is applied to the 
method of entering the warp threads into Ihe healds of the 
shafts or heddles. It results in the transmutation, according 
to plan, of the grouping of the thread units of which a design 
is composed. The number of shafts required in the production 
of a design, as prepared on point paper, is that of the multiple 
of the distinct types of thread it contains. 

It has been shown that, in the examples of crossings derived 
from a simple intersection base, by re-arranging the threads 
of a given weave unit, various textural plans are producible. 
The varieties of design thus formed have not, however, been 
either of a striped or of a checked character. In one sense 
the waved or serpentine patterns are a species of stripe, as the 
dice patterns are a form of checking ; but the true striped 
style consists of clear, parallel lines of effect, and the correct 
checked style, of lines of effect intersecting each other at right 
angles. 

Waved compound styles differ from angled patterns in 
the order in which the twilhng is reversed, that is, at the 
juncture in the plan where the hne direction of the twill is 
changed ; while in the herringbone or angled stripe, the warp 

247 



248 DRESS, BLOUSE, AND COSTUME CLOTHS 

and weft twilled lines cut or oppose each other at the reversing 
point in the design. The system of drafting followed results 
in such differences in these two elementary forms of stripe. 

What are known as the " angled," " sateen," and other 
healding practices, are apphed to the several classes of 
simple weaves in the origination of striped, checked, and all- 
over schemes of pattern. To illustrate this branch of pattern 
work, reference will be made, in the first place, to the tweed 
costume specimens in Fig. 113, and to the worsted textures in 
Fig. 114. The tweed examples are woven in the g- twill, and the 
worsted examples in the 3^ twill, and in the healding drafts 
outUned in Figs. 113a' to d', and in Figs. 114e' to j'. The 
numerals in the drafts indicate the order of the shafts, and 
the marks show the method of distributing the threads in 
" drawing-in " the warp on to the shafts 1, 2, 3, and 4, Fig. 
113, and on to the shafts 1, 2, 3, 4, 5, and 6 in Fig. 114. The 
strfped patterns obtained by the combination of the Plans 
II 3a- and 1 14d' with the healding drafts, are described below — 

Fig. 113, Specimens A, B, C, and D 
Specimen A — 5^ twill, drafted " straight," as at Fig. 113 A'. 

,, B^Angled stripe, composed of lines of 8, 4, and 2 threads, 

twilled to the right and to the left alternately, and 

drafted as at Fig. 113, B'. 
,, C — Stripe composed of lines of twill cutting in two's and 

moving to the right and to the left, of lines of twill to the 

right, and of small lines of mat — Draft Fig. 113, C 
,, D — Stripe composed of angled twill, mat, and warp rib — 

Draft Fig. 113, D'. 

Fig. 114, Specimens E, F, G, H, I, J 
Specimen E — s^ twill angled 6-and-6 — Draft Fig. 114, E'. 
F— 3^ „ „ 96-and-96— „ „ 114 F'. 

,, G — Composed of angled effects formed of 12 and 12 lines for 
96 threads, and of 6 and 6 lines for 96 threads — Draft 
Fig. 114, G'. 
,, H — Composed of stripes of twill to the right and of stripes of 

twill cutting in three's — ^Draft Fig. 114, H'. 
,, I — Composed of broad stripes of twill, and of twill cutting 

in three's, and of lines of mat — Draft Fig. 114, I'. 
,, J — Composed of various sizes of stripes in angled twill, and 
of lines of twill cutting in two's— Draft Pig. 114, J'. 









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DRAFTED PATTERNS: STRIPES 251 

It follows that, as 4-end and 6-end weaves are here employed 
in the healdmg drafts, Fig. 113a' to d', the 3- twill 
might be used, and in the healding drafts, Fig. 114e' to 
j', the 2^-x~ twill might be appUed. Similar healding drafts 
are formable on other multiples of shafts, such as 5, 7, 8, and 9, 
rendering the standard twills for such shaft mountings usable. 
In addition, the plans acquired by re-arranging the threads 
of a simple weave unit, illustrated in Figs. 74 to 78 inclusive, 
are suitable for combination with each other, with the basic 
weave as the looming plan in the weaving of the patterns. 
The method of combination, and the type of weave derivative 
appHed, are, in all examples of this description, subservient 
to the style of design desired, and the class of fabric to be 
manufactured. 

171. Designs on a Small Number of Shedding Units. — With 
the restricted shedding capacity in tappet and dobbie looms, 
systems of healding are of paramount value and importance. 
They enable styles of a composite textural character to be 
developed ; first, in weave plans as exemplified in the deriva- 
tives of the common twills ; second, in compound weave designs 
such as stripes and checks ; and third, in designs arranged 
on a geometric base. The principles of healding are funda- 
mental to the varieties of pattern types producible in a 
given plan of a Umited number of threads, having different 
intersecting points. For example, in the 4-shaft and 6-shaft 
crossings (Figs. 113a^ and 114d') there are in these two sorts of 
weave four and six distinct thread units. The transposition and 
re-arrangement of the threads by the healding draft, results 
in the distinct styles of striping observed in the woven speci- 
mens. When limited to two or three threads, many 
descriptions of pattern are also formable. 

Designing, by the re-grouping of such threads, has some 
elements in common with the mathematical infinitude in the 
origination of the magic square in the use of the root of four, 
from which it is possible to obtain some 600 biUion modifica- 
tions, all included in the summation of 1891, and yet each 




Fig. 114. — Drafted Patterns — ^^Vorsted Costume Cloths. 




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Fig. 114. — Drafted Patterns — Worsted Costujie Cloths. 







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DRAFTED PATTERNS: STRIPES 255 

square made up of sections in which the order of the numerals 
differ. Weave planning, by the re-arrangement of the threads 
or picks, in the multitude of changes of which it is productive, 
bears some resemblance to the process of magic square com- 
pilation ; or, it may more aptly be compared to the diversity 
of harmonies possible in the art of music from a given octave 
of notes. Thus, with ingenuity in the formation of the 
interlacings of the thread units, and in their methods of 
grouping, patternwork may be diversified to an illimitable 
degree. 

172. Effects on Tivo Shafts. — When confined to the lowest 
number of shedding units, that is to two intersecting threads, 
there is a considerable compass provided in the formation of 
striped and checked patterns, as seen in the designs sketched 
in Figs. 115 to 120. The striped example (Fig. 115) contains 
three widths of line, developed in warp cord, ordinary mat, 
and elongated hopsack. Obviously, by varying the dimensions 
of these lines, and also by changing the type of the cord plan, 
the mats would also be modified ; and, with these alterations, 
other forms of striping would be producible. In addition, 
distinctive stripings weavable on two shafts, because composed 
of two threads, Nos. 1 and 2 in the examples, may be acquked 
by using either the transverse sections, A or B, in Figs. 
117 to 120 ; for when these are separated from the designs 
of which they form a part, they become striped styles 
consisting of — - 

Fig. 117, Section A = A stripe of 3 threads of warp cord and of 10 
threads of mat. 
., B = A stripe of 3 threads of plain and of 10 threads 
weft cord. 

Fig. 118, ,, A = A stripe consisting of lines of 5 threads of plain, 
2 threads of weft cord, 2 of plain, and of 2 of 
weft cord. 
,, B = A stripe consisting of lines of 5 threads of warp 
cord and plain, 2 threads of mat and weft 
cord, 2 threads of warp cord and plain, and 
of 2 threads of mat and weft cord. 



256 DRESS, BLOUSE, AND COSTUME CLOTHS 

Fig. 119 Section A = A stripe consisting of lines of 4 threads of warp 
cord, 7 threads of mat, and of 4 threads of 
warp cord. 

„ B = A stripe consisting of lines of 4 threads of plain 
7 threads of weft cord, and of 4 threads of 
plain. 
Fig. 120 ,, A = A stripe consisting of 5 threads of plain and warp 

cord, 2 threads of weft cord, and mat, 5 
threads of plain and warp cord, and of 10 
threads of weft cord and mat. 

,, B = A stripe consisting of 5 threads of warp cord, 
2 threads of elongated mat, 5 threads of warp 
cord, and of 10 threads of mat. 

173. Checked Patterns on Two Heddles. — As stated, each of 
the examples, in Figs. 115 to 120, is composed of the 2 threads 
numbered 1 and 2, which are necessarily the reverse of each 
other in intersections. In making such plans, the formation 
of the thread unit is the first factor, and the grouping of the 
2-thread units, in an ordered stripe or checked form, the 
second factor. The checkings become interesting in textural 
features and in style with the varied character of the unit 
threads combined. The use of threads, simple in order of 
interlacing, are seen to give (Figs. 116 and 117) two kinds of 
mosaic checking. Thus the effects in ■ 's and in H's 
(Fig. 116) correspond in size, but those in Fig. 117 consist of 
squares of 10 threads and picks, and of 3 threads and picks, 
and of oblong sections of 3 threads of warp cord and 3 picks 
of weft cord. In Fig. 118, another plan of arrangement has 
been apphed, namely, lines of effect, in plain and weft cord 
of 5 and 2 threads, intersecting with similar lines in the weft. 
With a further diversification in the interlacings in the 
thread units, and also in the practice of their combination, 
the designs in Fig. 119 and 120 are obtained. In Fig. 119 
the intersections in thread No. 1 consist of — 

11311112211 = Warp intersections 

12 2 i i i 13 1 i i~ = Weft 

and in thread No. 2 of — 

12 2 1 1113111 = Warp intersections 
i i 3 1 i 11 2 2 1 i = Weft 



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258 DRESS, BLOUSE, AND COSTUME CLOTHS 

while in Fig. 120, the intersections in thread No. 1 consist 
of— 

11211121 = Warp intersections 



11111133 = Weft 



and in No. 2 of — 

11111133 

~i r~2 i i r~2 1 



Warp intersections 
Weft 



Obviously, when limited to 2 thread units, many types of 
pattern may be produced in piece-dyed and coloured goods. 
The designs are also adapted for style origination in both 
warp and weft colouring. For example, certain of the sections 
marked in ■ 's, may, in the development of the plans, be 
woven in a thicker yarn, or in a different colour of yarn from 
certain of the sections in H 's. Each method of looming has 
the result of enforcing the details in the weave scheme. Should 
this be essential, the order of warping, or of both warping 
and wefting, may be made to coincide with the form of the 
design construction, in which instance Figs. 119 and 120 would 
be suitable for colour treatment on the following lines — 



Fig. 119. — Order of Warping 

1 thread of tint or shade 

1 

2 

3 

2 

1 

1 

2 

3 

2 

1 

1 



a 
b 
a 

'l 

a) 

b 

a 

b 



for 4 threads. 



for 8 threads. 



for 4 threads. 



Orders of Wefting 

I. A light tint or shade. 
II. A medium tint or shade. 
III. Same order as warping. 



DRAFTED PATTERNS: STRIPES 



259 



Fig. 120. — Order of Warping 



1 thread of tint or shade 
1 
2 
1 
1 
10 



a 



for 5 threads. 



for 5 threads. 



Orders of Wefting 

I. A light tint or shade. 
II. A medium tint or shade. 
III. Same order as warping. 



The order of colouring in Fig. 119 causes alternate sections 
in the mat to be developed in the tints a and 6. Other methods 
of colouring weave patterns of this description consist in 
producing each effect in a special shade of yarn, thus — 



Fig. 118. 
5 threads of tint or shade a 



2 


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b 


2 


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Fig. 119. 


4 threads of tint or shade a 


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Fig. 120. 


12 threads 


of a tint or shade a 


10 


9» 


„ b. 



174. Designing on Three Shafts. — The employment of three 
heddles or shafts has the advantage over two heddles, inasmuch 
as it allows of the production of twilled as well of cord and 
mat effects. The varieties of plan units obtainable from the 
prunelle, by the re-arrangement and extension of the weave 
base, are given under Fig. 71, but other interlacing elements are 
f ormable with three threads, which may be apphed in developing 
designs on this number of heddles, such as the striped patterns 



260 DRESS, BLOUSE, AND COSTUME CLOTHS 

in Figs. 121 to 127. The first is composed of the prunelle 
twill waved in the weft, section A, and of the same twill 
reversed in section B, hence a stripe consisting of these two 



I 2 3 IZ31 Z 3 t 2 321 2 3 2 13 2132 J Z312 3 



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Fig. l^7 

Striped Patterns Weavable on Three Shafts. 

lines of effect. Fig. 122 is composed of three ends of the ^ — twill 
cutting every third thread, and of mat ; while Fig. 123 is 
a combination of an irregular warp cord and of a bird's-eye 
spot. Selecting three alterjiate threads of the ^- twill gives 



DRAFTED PATTERNS: STRIPES 261 

an effect on three shafts, and using two of these threads (1 
and 3) gives a mat ; hence the combination of the two effects, 
as in A and B in Fig. 124, yields a striped design. Tor produc- 
ing more open effects on three shafts, 3^— mat and cord are 
usable, with the small weave effect, seen at C in Fig. 125. 
By extending the prunelle in the picks, and running it to the 
right and to the left (section A and B, Fig. 126) fine angled- 
twill patterns result. Doubling the twill in both the threads 
and picks, and combining the resultant effect with a weave 
two picks in a shed, and in the form seen at A, B, and C (Fig. 
127) a striped pattern is acquired composed of a line. A, of 
step twill ; a hne, B, of upright twill ; and a line, C, of mat twill. 

The numerals at the top of each of the plans show the 
healding order, which, it will be observed in aU the examples, 
contains three threads workable on three shafts, and from such 
numerals the method of design originated may be ascertained 
in each instance. 

Elementary forms of striping have been selected, but it 
will be clear that these may be elaborated either in the 
character of the line, or in the grouping of Unes of different 
sizes of each of the effects comprised — ^principles of work 
which are common to all drafted designs of this category. 

175. Repp Patterns. — These should be distinguished from 
the cord variety of design described in Paragraph 153. They 
are formed — 

(1) By combining two or more warp face weaves, e.g. A' 
and A3 and A^ and A* (Fig. 70). 

(2) By combining weft face weaves, e.g. Q and R (Fig. 102) 
and 2-and-2 and 4-and-4 ribbed weaves, etc. 

(3) By combining two or more warp-face and weft-face 
weaves, such as A^ and A', Fig. 70 ; and by combining two 
types of warp ribs with similar ribbed weaves transposed. 

Specimens A and B (Fig. 128) are woven respectively in 
the x^ 1^ warp and weft rej)p makes, and specimens C and D 
in the -^ warp and weft cords. Combining, on the first 
principle, the effects in A and C, would develop fines in the 



262 DBESS, BLOUSE, AND COSTUME CLOTHS 

warp concealing the shots of weft, and combining, on the second 
principle, the effects in B and D, would develop lines in the 
weft concealing the threads of warp. This implies that the 
warp yarn would be the chief ingredient of the first style of 
texture, and the weft yarn the chief ingredient of the second 




c D 

Fig. 128. — ^Warp and Weft Cord Textures. 



style. Varieties of striping in either the warp or tveft face 
plans are obtainable by changing the intersecting order of the 
weave units selected. 

When both warp and weft effects are employed, as in the 
third scheme of combination, rib plans may be of a hke or of a 
different formation. Patterns may, for example, be produced 
in lines of A and B or C and D, or of A and D (Fig. 128) ; and 
in 4- warp rib with plan E, (Fig. 102). The three methods of 



DRAFTED PATTERNS : STRIPES 263 

combination are diversified in a number of ways as in the use 
of two kinds of warp rib (section B, Fig. 129) in arrangement 
with a warp-faced twill stripe A, or by using one or several 
ribs composed of different interlacings with common twills 
and other crossings. In the specimen, 2^ and ^^ warp ribs 
are combined in stripe B, giving the transverse features 
composed of fine and open repps. For producing such designs, 
the number of heddles for the cord details need not exceed two, 

n R B B . 



Fig. 129. — Warp Cord and Fine-Twill Stripe. 



but the number for the twiUed sections should coincide with 
the number of threads in the weave apphed. 

176. Twilled-Repp and Mat Stripes.— The ^- twill is ordin- 
arily combined with the 2-and-2 and 4-and-4 cords, and the 
3^ twill with the 3 ^ and ^^ cords, or with cord plans contain- 
ing a corresponding number of threads or picks as the twilled 
weaves. In addition, simple twills are combined with mats 
or hopsacks, and the patterns are made in cotton, worsted, 
silk, and linen goods, and comprise stripings in almost any 
kind of line assortment and grouping as — 

(a) Types of pattern in twill, mat, and cord, of equal widths, 
and in minute, medium, and broad lines. 



^64 DRESS, BLOUSE, AND COSTUME CLOTHS 

(6) Types of pattern in twill, mat, and cord, of two or 
more lines of effect of different widths and interchanging 
in position. 

(c) Types of pattern in three or four widths of hne. 

The factors, which determine the line dimensions and the 
weave structure apphed, are the setting of the cloth and the 
style producible. Moreover, cord plans, twills, and angled 
twills, as also the derivatives of twilled makes, are formed 
into pattern types with rib and mat weave units, and become 
draftable on to the shaft mounting adapted to the twill or 
basic weave in the patterns. 






V-ltt 



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i 






'j 












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1 1 



,«« 



l> 



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Fig. 130. — Twill and Mat Pattern. 



Should the cloths be required to be made firmer in construc- 
tion than those obtained in the standard crossings, modified 
twills and mats are combined, and these increase the shafts 
usable. The example in Fig. 130 is composed of plans A and 
E (Fig. 102) and is illustrative of this, the twilled weave con- 
sisting of a 6-thread, and the mat of a 4-thread unit. Other 
modified weaves of this kind, made on 8 instead of 6 shafts, 
are B and C (Fig. 104) which might be utihzed with J, 0, and Q. 
In the lighter makes of fabric, and with the view of making 
a firm structure, plain interlacing intersections may be run 
underneath the floating threads or picks of the mat or cord, 
constituting the weave effects on the surface. 

177. Matted Stripes. — Elongated mats which have been 
shown to be derived from warp and weft ribs, are employed 



DRAFTED PATTERNS: STRIPES 265 

for stripes, on similar principles to the ribbed weaves alluded to. 
Irregular mats — i.e. mats containing an odd number of threads 
and picks — may be readily converted into striped and checked 
designs weavable on 2 or 4 heddles, and those chiefly used 
are formed on 5, 7, and 9 threads. The modified type of mat, 
E and Q (Figs. 102 and 104) and also C and J in the same 
series, are combinable with ordinary mats on six and eight 
shafts. 

Another basis of work comprises the use of elongated mats, 
as shown in Fig. 131, where the effects in the respective stripes 
may be increasingly defined by extending the mat base. Here 
the 4-end mat has been enlarged in the picks in section A, 
and in the threads in section B ; hence by similarly enlarging 
six on eight shaft mats, and combining their derivatives, the 
striped hnes, which they are arranged to compose, strongly 
contrast with each other in the fabric. It is essential that 
the two makes should be correctly joined together by starting 
and finishing one of the mats with single threads, so that the 
weaves in the stripings fit evenly mth each other, as in A 
and B in the example. This rule is also observed when the 
plans are made into checked styles. 

178. Multi-form Character of Derivative- Weave Stripes.— 
The economy in shaft mounting, due to constructing striped 
patterns on a standard twill or crossing, is now evident. The 
extent to which the pattern types may be diversified has also 
been suggested. While, therefore, the numerous classes of 
striped designs, producible in each of the ordinary tmU bases, 
need not be illustrated, it is important to show the application 
of this practice, in pattern design, to other and larger weave 
units than those treated of. For this purpose, designs con- 
sisting of three and four weave units, and devised on the 8, 9, 
and 13 shaft twiUed bases, are typijfied in Figs. 132, 133, 
1 34, and 135. Each of these patterns is formed of weave effects 
derived from section A, so that it is a question of using this 
section as the looming plan, and of healding the warp on the 
shafts in the order of the numerals on the upper hne of the 



266 DRESS, BLOUSE, AND COSTUME CLOTHS 

designs. Examining these examples shows that they comprise 
the following hnes of effect — 

Fig. 132. A striped design on 96 threads — consisting of lines A, in 
J— twill ; B in stepped cork screw ; and C in corkscrew or 
warp-cord twill — draftable on to 8 shafts. 

Fig. 133. A striped design on 63 ends — consisting of lines of waved- 
twill A and C, and of lines of matted-twill B — draftable 
on to 9 shafts. 

Fig. 134. A striped design on 96 ends — consisting of five lines of effect, 
namely, stripe A j-^- twill to the right ; B in the same twill 
to the left ; C in oblique corkscrew ; D in step twill ; 
and E in interrupted twill — draftable on to 9 shafts. 

Fig. 135. A striped design of 78 threads — consisting of four lines of 
effect, namely, a broad line A in fine twill ; lines B and D 
in upright twill ; and C in upright twill angled to form a 
pointed feature in the fabric — draftable on to 13 shafts. 

The technical characteristics observed in these examples 
are : (1) the diversity of striped pattern acquired both as to 
the number of threads forming a repeat, and as to the dimen- 
sions of the Hnes A, B, C, D, and E ; (2) the types of weave 
effect of which such styles are composed ; and (3) the range 
of contrasts in textural detail of which designs of this class are 
illustrative. 

Relative to the dimensions of the hnes — ^in Fig. 132 sections 
A consist of 8 threads, section B of 64, and section C of 16 
threads ; in Fig. 133 the lines are of two sizes, A and C repre- 
senting the first, and B the second portion of the design ; in 
Fig. 134, striping, A and B consist of 9 and 8 threads, C of 
34, D of 18, and E of 27 threads ; and in Fig. 135 the upright 
twilled features B, C, and D are equal in width to the section A. 

Examples 132, 133, and 134 indicate the kinds of weave 
obtainable from a common twill and suitable for combination 
with each other in striped arrangement ; and Fig. 135 indicates 
the practice of employing one twilled unit, A, varied in com- 
position by drafting, in the origination of an interesting 
compound style. 

179. The Combination of Weaves of Different Interlacing 
Frinciples. — While, as shown, there is scope in the use of a 




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268 DBES8, BLOUSE, AND COSTUME CLOTHS 

common weave unit by drafting for the production of several 
varieties of striping, yet, as may have been observed, they 
have necessarily one element in common, inasmuch as they 
result from combining threads of a corresponding intersection 
formula. Each stripe in Figs. 132 to 135 consists of the 
regrouping of the threads of the basic weave, or that in section 
A. In other words, the threads of which this basic weave 
consists, restrict the number of thread units of which the 
weaves derived, by changing the healding order, may be 
composed. 

The design principles now to be explained, admit of the 
combination of several weaves differing in scheme of inter- 
lacing. The plain make, may, for instance, be used with 
the sateen, the twill, and the mock leno ; and ordinary and 
fancy twills with mat, diamond and other crossings. Great 
diversity of fabric structure and of pattern style is therefore 
obtainable, because the weave in each hne of efTect of which 
a pattern is formed, may be the result of a special plan of 
intersection. The stripings included in this system of designing 
may be classified into — 

(1) Fine-line stripes. 

(2) Stripes in twills, moving at different angles. 

(3) Stripes in which the plain make is an ingredient. 

(4) Mushns, zephyrs, and lustres. 

(5) Fancy and special weave combinations. 

(6) Inverted weave stripes. 

(7) Small figured stripings. 

(8) Lace stripings. 

It wiU be understood that, if the weaves combinable should 
be dissimilar in the thread units of which they consist, the 
shedding mounting will accordingly be composed of a larger 
number of heddles. Instead of the mounting, as in the strip- 
ings considered, being restricted to the shedding units neces- 
sary in producing one weave type, it requires to comprise 
the several thread units of which the two or more weaves 
combined are made, that is to say, if the plain weave should 



DRAFTED PATTERNS: STRIPES 269 

be worked into a stripe with weaves on six and twelve shafts, 
the minimum number of distinct threads of which the design 
would be formed, would be a multiple of these three weave 
units, namely, 20. 

In dissecting this class of Icomwork, it will be shown 
that particular weave plans, though adapted for the same or 
distinct shaft mountings, have certain threads in common ; 
and that the designs, in which such weaves occur, are reducible 
to a number of heddles tallying with the aggregate of the 
individual threads comprised, or to a lower number than that 
represented by the multiple of threads in the two or more 
weaves combined. For instance, a compound pattern, 
arranged 24 threads of plain, 8 threads of plan C (Fig. 104), 
16 threads of plain, and 12 threads of plan E (Fig. 108) would 
be producible on 16 and not 22 shafts, on account of six of 
the threads in plan E being similar to the threads in the plain 
make. 

180. Fundamental Features in Forming Weave Stripes. — 
The fundamental features to be observed in the origination 
of this class of design are (1) the hmitation, as far as feasible, 
of the series of shafts employed, with the acquirement, in the 
drafting, of a regular or practical system of healding ; and 
(2) the selection of weave structures of a suitable character 
for making an effective style, and a satisfactory build of texture. 
An explanation of these technicahties may be rendered by 
alluding to Figs 136, 137, and 138, the first a compound of 
6-shaft and 12-shaft weave units, the second of two 4-, one 14-, 
and one 8-shaft, and the third of 8- and 1 6-shaft units. If all 
the threads in the weaves in Fig. 136 were distinct in interlacing 
plan, it would necessitate the use of 18 shafts ; and, with each 
weave differing in thread formation in Figs 137 and 138, 
30 and 24 shafts would requii'e to be utiUzed ; but in conse- 
quence of the 12-shaft make A, in Fig. 136, being partly composed 
of the threads in the twilled section, the shaft complement of 
this weave is reducible to 6, rendering the whole design weavable 
on 12 shafts. Then, by reversing the -^ twiU sections, and 



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Fig. 138. 
Striped Designs Drafted. 



DRAFTED PATTERNS: STRIPES 271 

also those of A, variety of weave type and style is acquired 
without adding to the range of the shaft mounting. 

Similar technicaUties obtain in the construction of Fig. 
137, a pattern on 91 threads, and complete on 24 picks, 
and in which each line of effect is extensible or otherwise. 
For economic healding, threads A would be drawn on to 
shafts 1, 2, 3 and 4, B on to shafts 5, 6, 7, and 8, C on to shafts 
9 to 16, and threads D on to shafts 17 to 23, but if a further 
reduction should be desirable, section C should be woven on 
shafts 9 to 12, reducing the whole design to 20 heddles. 
Providing the weave units selected, as in this illustration, do 
not tally with one another in the number of picks they occupy, 
the joining of the weaves together may involve the edging 
threads in the several stripings being shghtly re-arranged. To 
do this on the threads in the repeated weave elements in the 
pattern (A, B, and D) would add to the shedding units 
apphcable. It is therefore usual to modify the outside ends 
of the unrepeated weave in the style, or that in section C in 
Fig. 137. If here, for example, the irregular or four floats of 
weft on the 3rd, 12th, and 15th picks, should be found unsatis- 
factory in the fabric, the first and last threads of weave C 
would be so changed in the intersecting order as to eUminate 
the defect. 

In Fig. 137, as a result of the intersections in weaves A and B 
being the reverse of each other, the two crossings require 
eight shafts, whereas the method of interchanging the orders of 
the threads and picks in section B of Fig. 138, gives a 16-shaft 
plan, weavable on half this number of shafts. The mayo 
crossing (the 8 threads lettered M), and also other legular 
interlacing weaves on 8, 10, 12, and a fuller number of shafts, 
are converted into designs of double the threads and picks of 
which they consist by the re-arrangement practice here adopted. 
For acquiring the 16-shaft plan from detail M, first the 9th to 
the 16th. picks are compiled by commencing on the 4th pick, 
and reversing their sequence ; then, for the 9th to the 16th 
threads of the plan, the threads of the extended section M are 



272 DEE8S, BLOUSE, AND COSTUME CLOTHS 

re-arranged, commencing on the 4th and reversing serially 
through the weave. 

Practising this system of designing gives a varied pattern 
style on a reduced number of shafts, for it follows that this 
4-shaft and 16-shaft compound is producible on 12 instead of 
20 heddles, which the two weave units theoretically represent. 
What is apparent in these three forms of stripings is, that 
the weave types combined may effectively differ in structure, 
whether considered as separate bases of cloth building, or as 
distinctive textural elements in broad striped patterns weavable 
in a convenient shaft-mounting. 

The technical points named concern style quality as due to 
the plan of weave assortment. The several stripings in the 
designs are understood to be variable in order of grouping, 
and also in dimensions. The lines of effect seen in Fig. 136 
may be doubled, trebled, etc., in size, and this also applies to 
Figs. 137 and 138. As the different effects are grouped, they 
form, however, interesting striped styles. Briefly examining 
Fig. 136, the broader twilled line consists of 24 threads of 
twill to the right, hnes of modified mat, and lines of 3^- twill 
reversed. The matted details in crosses are equally adapted 
for the larger as the smaller sections of the design. Fig. 137 
consists of three lines of equal width. A, B, and A', of two small 
lines C, and of a medium-sized line D. The fine intersecting 
plan C is used in the smaller stripings, and the more open 
crossing D in the broader line. Should the twill, part A in 
Fig. 138, be striped with colour, it might be enlarged, which 
would change the character of the whole style, or a broader 
striping might be made in the interchanging mayo effect, B. 

The relative widths of the stripes, and the order of group- 
ing them, fix the style formation. Weave structures are 
selected which contrast with each other, and which are 
adapted in type to the textural qualities required. Thus, 
where the weave units, as in A and B, Fig. 137, are the reverse 
of each other, the stripes in each may be of a similar size, but 
in the case of weave C. a comparatively fast principle of 



DRAFTED PATTERNS: STRIPES 273 

interlacing, it is adapted for the smaller stripe. In Fig. 136, 
both weaves being regular in structure, they are suitable for 
lines of equal or different sizes, and in Fig. 138, either the 
cassimere or the mayo may be used in making the broader or 
the smaller pattern Knes. 

181, Fine Line Pattern Types. — By combining plain with 
single or double threads of twill and cord weaves ; or warp-face 
weaves — ^pruneUe and y^ twills and sateens — with single or 
double threads of reversed weaves, hne stripings are produced. 
To obtain a correctly-balanced pattern and an evenly-made 
fabric, the threads of the reversed weaves, forming the hne 
details, should follow in natural sequence as in Fig. 139, 
consisting of a stripe of prunelle twill C, and of a stripe of hne 
effects D. In the latter, threads a', a^, and a^ are arranged in 
a regular weft twill order, and the warp tA\dU is made to cut 
the single threads. Using two threads for the hne elements 
(Fig. 140) and the y^ twiU for the groimd of the pattern, the 
striping is varied by turning the direction of the y- tuiU as 
at aa and bb. 

With a twill or plain weave in the ground stripings, the hnes 
may be successively formed in warp and weft twill on the 
practice shown at a, b, c, and d (Fig. 141). The sections T 
may be enlarged as desired, with angled or matted features 
introduced, or they may be produced in plain, mat, and other 
standard weaves. With the use of the plain, the effects a, 
b, c, and d are frequently woven in a special quahty of yarn 
such as silk with worsted or cotton for the ground ; while, 
with twill as the basic weave, the lines may be distinct in colour 
or in yarn composition, from the yams used in the rest of the 
warp. Such, however, is the difference in the weave con- 
struction of the ground features, and of the hne details in these 
patterns, that the effects become sufficiently distinctive in 
quahty and structure when produced in one counts of yarn. 

182. Stripes in Twills of Different Angles- — In this variety 
of striping, there is considerable scope for the development of 
pattern style both in the use of different weaves, and in the hnes 

18— (5264) 



^74 DRESS, BLOUSE, AND COSTUME CLOTHS 

of effect combinable. Primarily, twills are used of a warp-face 
structure in which the twilled details are of a similar size, and 



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run in a like direction, but at different angles. Secondly, the 
twills may consist of warp and weft effects with the details of 
each differing in size ; and thirdly, warp-face twills may be 



DRAFTED PATTERNS: STRIPES 275 

combined with ordinary twills, and also with fancy twills. 
Such designs comprise three groups of Weave Compounds, 

namely — 

Group I. 
Compounds of such weaves as the prunelle and y^ twills with the same 
weaves 2 picks in a shed. 
„ ,, 4-shaft twills with the 8-shaft buckskin and other 

weaves. 
„ „ 5-end Venetian or garbadine mth the 10-shaft buckskin, 

etc. 
,, ,, 7-shaft corkscrew with the 7-shaft Venetian. 

„ ,, 7-shaft warp twills with 9-shaft upright twills. 

„ „ 6-shaft whipcords with 12-shaft upright twills. 

Group II. 

Compounds of 5-shaft Venetian and 10-shaft small diagonals. 
„ „ 7-shaft warp twills and 9-shaft small diagonals. 

,, ,, 8-shaft ,, ,, ,, 8-shaft ,, ,, 

,, ,, 9-shaft ,, ,, ,, 9-shaft ,, ,, 

„ „ 11-shaft ,, „ ,, 11-shaft ,, „ 

Group III. 
Compomids of 5- tmll with ^Hwill, 2 picks in a shed. 

,, ,, ^a „ 8-shaft buckskin, warp twills and fancy 

crossings. 
„ „ 5^ „ 5-shaft and 10-shaft warp twills and 

diagonals. 
„ „ 8-shaft buckskin with weaves on a sateen base, and 

with special makes. 
„ „ s^ twill with whip cords, 12-shaft upright twills, etc. 

Modified corkscrews, with ordinary and upright warp twills. 
Diagonal corkscrews, with twills and derivative -twill crossings. 

The first group of these stripings are specially adapted for 
neat, fine twilled patterns, in worsted yarns for costumes, and, 
in silk, cotton, and linen, for the closer-set varieties of dress 
goods. The two examples, weavable on six and nine heddles, 
given in Figs. 142 and 143, are formed respectively of two and 
three weave units. The lines of each weave may be modified 
to agree in width with the style of manufacture intended. With 
differentiations in the interlacing order on which the plans are 
constructed, it is the practice to vary the setting, making this 
correspond with the structure of the several weaves applied. 



276 DBESS, BLOUSE, AND COSTUME CLOTHS 



The reeding is fixed for each type weave in the style, that 
is to say, in Fig. 144, with 72 threads per inch in A, there 
should be 84 to 90 threads per inch in B. 

The variations in the angles of the twills, and the contrasts 
in fineness of the lines in each weave, form the distinctive 
pattern quahties. In Group I, the design features result 
purely from these sources ; but, in Group II, the weave units 
develop other textural details than those due to the angle of 
the twills ; and in Group III certain of the stripings are woven 




A B A 

Fig. 142. 



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B 

Fig. 143. 



A 




A B 

For 16 threads. For 32 threads. 
Fig. 144. 
Combinations of Twills Running at Different Angles. 

in twills which give weft as well as warp effects, while other 
stripings in the designs consist of warp-face twills. Each class 
of combination is illustrated — first in Figs. 142 and 143, second 
in Figs. 144, 145, and 146, and third in Figs. 147 to 150. 

The Unes of effect A in Fig. 142 traverse the cloth at 45°, 
and those in B at 60°, and in Fig. 143 the same two weaves 





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A B 

For 16 threads. For 32 threads. 
Fig. 146. 
Combinations of Twills Running at Different Angles. 



278 DRESS, BLOUSE, AND COSTUME CLOTHS 

are used, with a third weave C, forming an intermediate 
type of twill. The finest contrasts, in such warp-face 
twilled stripes, are obtainable when the weaves are constructed 
on a similar base, as, for example, in D and E, Fig. 103 ; in 
A and B, Fig. 105 ; and in A and B, Fig. 106 ; or in two weaves 
of a like structure, but occupying different numbers of threads, 
as in the instances of compounds of the Venetian and the 
10-shaft buckskin, and of the 6-shaft and 12-shaft whipcords. 
The second description of pattern affords considerable facihty 






Fig. 147, 

Stripes Composed op Various Weaves. 

(See Figs. 142 to 150.) 



in the choice of plans weavable in corresponding shaft mount- 
ings, such as two 6-shaft, two 8, two 9, and two 10-shaft 
units ; or larger makes according to the shedding capacity 
available. Figs. 144, 145, 145a, and 146 typify this principle 
of design. The first of these examples is composed of a fine 
twill effect in section A, of and a small diagonal effect in 
section B. The grouping adopted is 16 threads of the former 
and 32 threads of the latter, but this technicahty is changeable 
with the kind of striping desired. 

In Fig. 145, 13-shaft weaves are used. The weave in section 
B is the inverted form of that in section A, which is a principle 
applicable to twilled weaves constructed on the sateen base, 
giving, in this illustration, a warp-cord twill in the first, and 
a weft-cord twill in the second striping, and forming respec- 
tively oblique and upright twilled effects in the fabric. A 
modification of this class of striping is shown in the undraftable 
compound (Fig. 145a) where the diagonal, in part A, runs at 
an angle of 27°, and is combined with a 15-shaft twill. 

In applying plans occupying different multiples of threads, 



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280 DRESS, BLOUSE, AND COSTUME CLOTHS 

certain twilled features may run at a like angle as in the warp- 
floated twills in Fig. 146. The linking of the details of one 
plan with those of another plan on this principle, causes 
certain twills to move regularly through each striped line in 
the pattern, with, however, the formation of the complete 
series of twills, in each effect, as in A and B of this design, 
differing in detail and in structure. In originating the strip- 
ings, the constructive lines and features in the several weaves 
are the chief essential, in association with the plans being of 
a structure to weft satisfactorily together. 

In the third series of these examples, each hne of effect may 
be made distinctive in character, which partially arises from 
the employment of twills in which the warp and weft inter- 
lacings are equal in size, with t\viUs producing an excess warp 
effect on the surface of the fabric. Four typical patterns will 
be examined. Figs. 147, 148, 149, and 150. Fig. 147 is made 
up of two sorts of line, namely, buckskin and ^- twill ; Fig. 148 
of lines A.A', buckskin ; Unes B, warp cord ; line C, fancy 
8-shaft mat ; and line D, cassimere twill. 

The standard 5-end twill is suitable for combining with the 
Venetian as in Fig. 149, where the latter is twilled in 
two directions. For obtaining an even emphasis of the right 
and left-hand twills, B and C the warp yarns in B should be 
left-hand twine, and in C right-hand twine. This practice 
of thread grouping is observed in the manufacture of fine 
twilled fabrics for giving equal accentuation of the twills when 
moving in reverse directions. 

Another system of warp -yarn arrangement, as to the direc- 
tion of the twine in the thread in relation to the twills, is to 
use two varieties of twist for developing the twilled features, 
alternately, in clear and indefinite tones.* 

Assuming this method of work should be apphed to Fig. 148, 
stripe A^ might be arranged — 8 threads with the twist in the 
yarn to the left, 8 to the right, and 8 with the yarn twine to 
the left. If this were done the twill, in the two outside 

* See Chapter V : Woollen and Worsted. 



DRAFTED PATTERNS: STRIPES 281 

groups of warp threads, would be distinct, and in the central 
section subdued. The method of producing diversity of 
weave detail, and yet of retaining the twilled features as 
distinctive of the pattern form, is suggested more particularly 
in Fig. 148, the warp cord, B, and broken mat, C, yielding a 
striped element in contrast with the details in buckskin and 
2-- twill. Fig. 150 is interesting, first, in the use of the fine 
warp-twilled hues due to B ; and, second, in the more open warp 
twill due to C — ^two upright twills, in one of which the twilled 
lines make an angle of 63° in the woven texture, and in 
the other an angle of 70°, with both types of effect in pro- 
nounced contrast with the hopsack twill applied in section A. 

183. Uses of Plain MaJce in Striped Designs. — The plain 
make is largely used in striped designing, as it is one of the 
commonest weaves employed in the ground of many varieties 
of figured dress goods. The alternate grouping of its inter- 
sections causes it to fit correctly with every class of crossing. 
For this reason it is frequently introduced into compound 
weave patterns for joining one weave element with another in 
a symmetrical and even order. Its insertion in this way 
prevents irregular flushes in the use of either warp or weft 
plans differing in interlacing formation. Thus, in the combina- 
tion of diamond, waved, mock leno, sateen and special types 
of weave, and also of warp and weft twills and sateens, its 
employment enables pronounced tcxtural contrasts to be 
acquired, and yet a level and satisfactory fabric produced. 
The manufacture, therefore, of the lighter makes of striped 
and figured dress and blouse cloths is facihtated by its 
selection, either as the principal or lesser ingredient of the 
style. 

The subject will be illustrated and explained by examining 
the principles of pattern origination as they relate to muslin 
and zephyr stripes, artificial silk weft goods, and lustres of 
various quahties and schemes of figuring. Gauze, cellular, 
lappet, and other typical builds of cloth, in which the plain 
weave is selected for the ground, will be dealt with later. 



282 DRESS, BLOUSE, AND COSTUME CLOTHS 

Suggestive examples of the former are given in Figs. 151 
to 160. The woven specimen (Fig. 151) is produced in cotton 
warp, and wefted 6 picks of cotton and 4 picks of artificial silk. 
The warp threads are sleyed two in a dent in stripes A and B, 
with several empty dents intervening at C, edged by two ends 
of grey cotton. It will be noted that the difference in the 
lustrous nature of the silk and cotton shuttling yarns, adds 
tone and textural detail to each of the stripings. The style 




Fig. 151. — Spotted and Dented Stripe. 



thus obtained is due to a simple weaving practice, that of 
forming a distinction in the weft effects, and to the degree in 
which the silk picks are floated on the face, for developing the 
spottings in the lines A and B. In A these picks form small weft 
features similar to the star details in section A of Fig. 171 ; 
while in B the floating weft runs in twilled order for three 
picks in succession. Any weave but the plain would be less 
adapted for producing the fabric fineness and structure, which 
in this specimen give distinctiveness of character to elementary 
pattern types. 

184. Mock Leno Stripings. — The mock leno is combined with 
plain, sateen, and mat weaves in the construction of muslin 



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284 DRESS, BLOUSE, AND COSTUME CLOTHS 

stripes. As in Fig. 151, the reeding practice followed is an 
important technicality for imparting quality to the effects in 
this class of weave -striping. The leno sections in C, Fig. 152, 
require to be sleyed 3 ends in a dent, and the mat should be 
woven with 2 threads in a heald, and sleyed 4 threads in a 
dent, but splitting identical thread units in the weave. By 
this grouping of the threads in the healds and in the sley, the 
cellular structure of stripings C, the fast structure of stripings A, 
and the hopsack elements in B, contrast strongly with each 
other in the fabric. Assuming a combination of 40 threads 
of plain, 30 threads of imitation gauze, 40 threads of plain 
and 24 threads of 6-end sateen, the two former might be 
appropriately reeded as indicated, and the sateen reeded 
3 threads in a split. In this way the fineness of setting, 
necessary to the development of a smooth, full, sateen stripe, 
is acquired with the special setting for the leno weave, and the 
regular setting for the plain intertexture. 

185. Zephyrs and Lustres.* — Cotton zephyr patterns are the 
result of combining weave plans in which either weft (Fig. 153) 
or warp and weft effects are utihzed with the plain make. 
Both these designs are arranged on a striped base, but in 
section B (Fig. 153) the design elements are formed in three 
and five floats of weft, while in section B (Fig. 154) they are 
alternately woven in floats of weft and warp. With the weft 
as the figuring or pattern yarn, this principle of loomwork is 
applicable to lustre dress stuffs, with a cotton warp and 
alpaca or mohair weft : and also to light blouse textures, with 
cotton yarn in the warp and silk or artificial silk as the shut- 
thng yarn. On either system the designs may be suitably 
elaborated, and yet restricted, as in the examples, to heddle 
weaving. 

Figs. 153 and 154 are draf table on to 14 shafts, and are 
susceptible to further modification in design features by the 
method of drafting followed ; or other effects are formable 
on 10, 14 or 16 shafts for the decorative details, with the 

* See Union Textile Fabrication. 



DRAFTED PATTERNS: STRIPES 



285 



addition of two shafts for the plain section A, should striped 
styles be produced. 

186, Warp and Weft Pattern Effects. — Designs illustrative of 




Fig. 153. 







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Fig. 154. 
Fancy Weaves and Plain Weave Compounds. 



the styles of effect obtainable when both the warp and weft 
threads are employed in producing textural ornament are 
sketched in Figs. 155 to 160. The examples (Figs. 155 and 156) 
are respectively composed of waved and diamond features, 



286 DRESS, BLOUSE, AND COSTUME CLOTHS 

the first consisting, in the space between the waved Knes, of 
warp diamond details ; and the second, in the intermediate 
spaces between the larger effects, of structural plans developed 
in floating threads and picks. 

The width of the plain band, and also of the decorative 
stripings, is changed according to the style of pattern desired. 
Without extending the heddle capacity in the loom, more 
diversified weave elements may be combined, as seen in 
Fig. 157, a compound pattern on 68 threads, and producible 



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Fig. 155. 

Fancy Weaves and Plain Weave Compounds. 



on 13 shafts, stripes B on 7, C on 4, and the plain features A 
on 2. Here the warp and weft details, differing in structural 
formation, constitute types B and C, the former being a species 
of heart-shaped figuring woven in warp and weft floats, and 
the latter a simple diamond effect woven in weft yarn. 

The enlargement of the heddle mounting enables this 
principle of design composition to be increasingly elaborated, 
and varied in the weave units, as illustrated in Fig. 158, where, 
by drafting in the picks as in the threads, the figured forms in 
section B might be developed successively in diamond types, 
and on the pointed base shown. As the style is constructed, 



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288 DRESS, BLOUSE, AND COSTUME CLOTHS 

it is weavable on 18 shafts. Another species of detailed 
striping, more particularly appKcable to silk warp and weft 
fabrics, is that produced in Fig. 159. While section B, in 
this instance, is not draftable, it might be used sectionally in 
the formation of a larger description of striping than that in 
which it appears. Combining for example — 



30 threads of plain, 


8 


shaded twill B to the right. 


10 


plain. 


8 


shaded twill B to the left. 


10 


plain. 


8 


shaded twill A to the right, 


30 


plain, 


24 


section B, 



would result in a broad striped pattern varied in line width 
and in textural effect, and yet draftable, like Fig. 159, on to 
18 shafts. 

The type of spotted stripe in Fig. 160 is suitable for textures 
in which the warp and weft are of equal value in developing 
the design structure. It might, however, be used for cloths 
in which the spots are formed solely in the weft yarn, by 
running a 2-and-2 weft cord over the warp surface sections in 
the plan. Using it as illustrated in silk or cotton cloths — 
piece dyes, or loom-coloured manufactures — ^produces the richer 
variety of pattern. The spottings are grouped on the 8-end 
irregular sateen plan of distribution, and their structure makes 
it feasible for the complete striped design to be woven on 18 
shafts. Enlarging the spots and changing them to diamond 
or lozenge shape does not add to the number of heddles required. 

187. Fancy and Special Weave Stripings. — From the exam- 
ples given in the different forms of weave compound, it will 
be clear that the range of plans, constructed on the series of 
shafts illustrated under Figs. 102 to 112, in addition to the 
derivatives of the common twiUs, are suitable for combination 
purposes. Some of the examples, considered as sectional but 
decorative parts of striped fabrics, are, moreover, suggestive 
of the latitude provided for " weave " design in this class 



\y 



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19— (5264) 



^90 DRESS, BLOUSE, AND COSTUME CLOTHS 

of loomwork. Further, there is the variety of special weave 
structures available for apphcation, with elementary types 
of crossings, to patterns of a striped description. 

Three illustrations (Figs. 161, 162, and 163) may be referred 



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Fig. 159. 
Fancy Weaves and Piain Weave Compounds. 

to, as they show, first, that these are, in reality, textural 
designs ; second, that the weave units with which they are 
combined should accentuate and bring out their characteristics ; 
and, third, that, in the case of the special makes being of a 
regular type, the weave details, inserted into the composition 
of the complete pattern, vary in a large degree in principle 
of intersection. 



DBAFTED PATTERNS : ST MI PES 



291 



To examine the three schemes of design, the special weave 
plan in Fig. 161 is based on the key pattern, the divisional 
lines of which are woven in plain, and the rest of the effects 
in even floats of warp yarn on the face of the fabric. Designs 
thus constructed, produce the features developed in the warp, 
on the right side of the cloth, and in weft on the under side, so 
that they are reversible in appearance as to warp and weft 



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Fig. 160. — Spotted and Plain Weave Stripe. 

qualities, but have a like form of decorative structure on both 
surfaces. The warp cord, in sections A and B, is, consequently, 
the correct weave to employ in this kind of striping, for it 
contrasts with the scheme of weave interlacing in sections D 
and E, and yet gives a species of clear, smart effect that adds 
precision to the decorative elements of the key pattern. A 
twilled weave would also be appHcable, but it would increase 
the shaft mounting, and be more likely than the cord to 
impinge on the particular order of design details of which the 
larger stripings are composed. 

An inverted zig-zag plan is the special weave tjrpe used in 
example Fig. 162, and in combination with elongated mat and 
irregular cord crossings. As the pattern, in band A, consists 



DRAFTED PATTERNS : STRIPES 



293 



of diagonal lines developed in 3- and y^ twills, it comprises 
a variety of twilling which should form the true decorative 
feature of the pattern. This being so, mat and repp are the 
types of crossing suitable for the smaller hues of effect in B 
and C. Either the repp or the mat might have been used in 
contact with the waved diagonal, but the mat, as arranged in 
this composition, gives a neat and effective edging which, in 
conjunction with the minute hues C, develops the design 
elements in the broad and principle stripe. 







B C B A B C 

Fig. 162, — Zig-zag Diagonal and Mat and Cord Stripe. 

Fig. 163 is stiU more varied in weave character, stripes E 
being formed in 4- twill cutting, B in weft rib, C in serpentine 
weft cord, and D in 4-and-4 warp repp. Plans C and E may 
both be defined as the special types of weave in this style, 
for each produces a particular class of effect in the compound 
pattern. The idea, however, in originating the style, has been 
to form a smart Une of effect in an interesting but regular 
weave, with smaller hues of contrasting detail, and this is 
seen to be the result of the divisional hne D in warp cord 
and of the intermediate hne C in weft detail, balanced by the 
pronounced weft rib, line B. 

It is by thus considering the character of the pattern as a 



294 DRESS, BLOUSE, AND COSTUME CLOTHS 



whole, and the distinctive elements it comprises in the weave 
structures combined, that the design originated, gives, in the 
first place, the quality of striping and of detail features required, 
and, in the second place, an evenly built fabric. 

188. Inverted Weave Structures. — Only two types of these 
patterns need be examined, those illustrated in Figs. 164 and 
165. The first exemplifies the principle of constructing an 
effect in weft on a warp ground, namely, striping A, and of 



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B ED 

Fig. 163. — Stripe Composed 



C D 

OF Four Weave 



E 
Units. 



inverting this in the construction of the style. Hence, in such 
types of pattern, the alternate stripings have warp and weft 
flushed grounds. 

On the weft surface, in Fig. 164, warp spottings are formed, 
and on the warp surface weft spottings. A degree of contrast in 
the textural and pattern effects is thus secured. The arrange- 
ment is simple, but capable of various modifications. Sections 
A and B might for example be repeated for three or four times, 
and formed into lines of different widths, or the whole design 
might be enlarged without adding to the shafts required in 
the weaving. Provided it is employed as printed, and woven 
in a light shade of warp and in a medium shade of weft, then 




A B A B 

Fig. 101. — Inviorted Striped Design. 




A B 

Fig. 165. — Inverted Striped Design. 



296 DRESS, BLOUSE, AND COSTUME CLOTHS 

stripes A would, in the fabric, consist of a light coloured ground, 
ornamented with spots in the medium colour, with stripes B 
produced in a medium colour in the ground, and spotted in 
the Ught colour. 

Fig. 165 is typical of a second practice, that of selecting a 
warp or weft face plan, and of inverting it to make a striped 
pattern. Section B in Fig. 156 also lends itself to this method 
of treatment, which may also be carried out in all weave 
designs in which the warp threads develop a group of textural 
details, distinct in formation from those woven in the shots of 
weft. Another method of varying this description of style 
is that of inserting between the two effects of which the 
patterns are composed, or between the repetitions of each effect, 
lines of plain, twill, or fancy weave, which may be separately 
tinted in the warp for the purpose of imparting clearness of 
definition to the different features, due to the reversed plans, 
as well as of importing diversity of toning to the striping as 
a whole. 

189. Striped Figured Designs. — ^When Umited in the design 
range to 24 or 32 threads, as in the employment of heddle 
mountings, the styles of figuring obtainable are necessarily 
of a simple character, and free from detail forms. The patterns 
in the loom — ^not draftable, as a rule, to a smaller number of 
shafts than the number of thread units of which they consist — 
rarely exceed a small fraction of an inch in width. Considering 
this factor, and that of the decorative types being the product 
of the interlacing of the warp and weft threads in a prescribed 
order, or an order which gives a correct build of fabric, such 
geometric and conventional forms as may be utihzed require 
to be of a miniature kind ; yet it is possible, by exercising skill 
in the shaping of the figures, and in the planning of these 
on point paper, to produce a fair range of styles, differing in 
decorative quahty and composition, and also distinct from the 
styles characteristic of pure " weave " design and arrangement. 

Referring to the three examples in Figs. 166, 167, and 168, 
the figured sections A are weavable on 24 healding shafts. In 



DRAFTED PATTERNS: STRIPES 



297 



the first, a plain stripe is combined with the pattern details ; 
in the second, a cassimere stripe with the decorative features ; 
and in the tliird, stripes of warp and weft sateen are com- 
bined with a stripe in warp sateen spotted with floats of weft. 




B A A B 

Fig. 166. Fig. 167. 

Small FiauRED Stripes Applicable to Shaft Mountings. 



Each pattern makes a particular type of elementary figuring. 
That in Fig. 166 is composed of curvihnear forms expressed 
in 5-end weft twill with the ground in plain make ; that in 
Fig. 167 of small pine figures, and that in Fig. 168 of con- 
y^ntionali^ed floral features developed in two kinds of twilhng 



298 DRESS, BLOUSE, AND COSTUME CLOTHS 

on a 5-end sateen ground. The decorative parts of these 
examples are weavable in dobbie mountings. Figs. 167 and 
168 might be shghtly reduced and worked out on 20 threads, 




Fig. 



B C 

168. — Small Figured Stripe. 



allowing 2 or 4 shafts for the plain or twilled stripe, so that 
they would be producible on 24 heddles. The supplementary 
stripings in Fig. 168 have made this pattern suitable for the 
harness loom, but should the weft sateen lines be eliminated, 
and the figured forms brought within 20 threads — which is 
feasible — the lines in warp sateen, and also the one in which 



DRAFTED PATTERNS: STRIPES 



299 



circular spots occur, may be retained, and the pattern 
constructed be woven in a 30-shaft gear. 

Striped designs of this elementary figured description are 



usee 


. in the manufacture of light fabrics 
A' B' C 


in 


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A 
Fig. 169. — Lace Striping. 



B 



yarns, and in cotton warp crossed with an alpaca or artificial 
silk weft. If the designs should be constructed to be weav- 
able in a centre-point healding draft, they would be doubled in 
size, or if weavable in a duplicated-point draft, they would 
be correspondingly increased in dimensions. 

190. Lace Stripings. — In what are termed woven lace 



300 DRESS, BLOUSE, AND COSTUME CLOTHS 

patterns, certain threads of warp — ^usually delivered off a 
separate chain beam from the warp of the ground of the 
fabric — are formed into circular, oval, and other cellular shapes 
on the face of the cloth. Fig, 169a demonstrates the principle 
of inter texture comprised, and also the style of effects produced. 
The white yarns A^ and B^, C^ and D^ are here seen to give a 
species of network. 

The design plan is that reproduced in Fig. 169, where sec- 
tion A represents the structural scheme, combined with the 
plain stripings B. From this it will be observed that the 




A A 

Fig. 169a. 



lacing threads float loosely over a number of picks of weft in 
succession — the length of their floats determining the openness 
or closeness of the net, and also its diversified character. In 
section P^, these threads flush on the face of the cloth over four 
picks, but in section P^ over two picks — a method of shuttling 
which binds the lacing threads in two serial groups, of a greater 
and of a lesser formation, into the ground of the texture. The 
lacing picks are floated in such a manner as to link alternate 
pairs of threads to each other, that is to say, picks 5, 10, 15, 23, 
and 31 link the central lacing ends with each other, and picks 
18 and 26 hnk central with edging threads. This practice in 
thread-hnking originates the quahty of the net woven. 

Striped combinations, with plain interlacing as a chief 
factor, are worked into various styles on the system shown in 
Fig. 170. This design results in the type of effect sketched 



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302 DRESS, BLOUSE, AND COSTUME CLOTHS 

in Fig. 170a. Analysing the loom plan, and considering the 
threads A, B, and C, and the picks P and P^ as distinct units 
from the remainder of the threads and picks composing the 
pattern, its structure will be more clearly presented. First, 
it should be observed that the cloth proper is plain woven, 
so that the netted striping N, and the checking details D in 
the sketch, are due to the supplementary threads and picks. 
Such yarns, by interlacing plain in section D, developed the 
checked features. 

The lacework is caused by floating these yarns on the surface 
of the cloth, on the principle described in Fig. 169, and also 
by linking B^ alternately with B^, and an edging yarn, B^, 




alternately with B^ and B*, and B* alternately with a second 
edging yarn, and with B^. Either the lacing, plain, or checking 
details may be repeated in any prescribed order, or the lacing 
effects may be combined with other design principles, one of 
which is illustrated in Fig. 171. This compound of crescent, 
star, and net stripings is reducible to a Umited shaft mounting. 
It may be examined in relation to the following practice in 
manufacture — 

Warp. 
4 threads of 60's cotton twist or 60's 2-fold silk, light fawn. 



21 

12 

1 

5 
1 



60's 
60's 
60's 

60's 
60's 

60's 



60's 
60's 
60's 

60's 
60's 

60's 



light blue, 
light fawn. 
2 ends in a mail, 

fancy colour, 
light blue. 
2 ends in a mail, 

fancy colour, 
light fawn. 



DRAFTED PATTERNS: STRIPES 



303 



Sleying — Stripes B, C, and D, 2 threads in a dent, with the threads in 
^'s one end in a dent. 
Stripes A, 4 „ „ and one dent empty 

on either side. 
Reed — 40 dents per inch. 

Weft. 
40's cotton or silk, white, or in a contrasting colour. 

Considered in regard to weave elements, the design com- 
prises several distinct types of crossings ; firstly, there is the 
4- 4 4 4 

•IjBJAJJ* 

'•:■•),_* 




3" B DAECEDA 

Fig. 171. — Striping in Warp and Weft Effects Combined 
WITH Net or Lace Details. 

plain ground ensuring the construction of a level fabric ; next 
there are the star stripings or leno effects A in warp and weft 
floats ; and, in the third place, the lace and figured structures. 
According to the colour scheme, the warp features in A 
would be in fawn, and the weft features in white. The larger 
band of effects B consists of crescent forms alternately woven 
in warp and weft effect. Light blue warp threads being appUed 



304 DRESS, BLOUSE, AND COSTUME CLOTHS 

to this section, the elements marked in D 's would be in this 
tint, and those marked in ■ 's in white. In addition, there 
are the lacing threads used in part C, which are, in the weav- 
ing, drawn into diamond or cross-over net. Such lacing 
threads require to be entered into separate dents in the reed. 
This arrangement provides for threads E being successively 
Hnked with each other by picks C^ and C^, and with the 
edging threads by the 1st and 17th picks in the design. 



CHAPTER VII 

GEOMETRIC DESIGN BASES — WEAVE COMPOUNDS 

191. — Weave Units as Design Formulae. 192. — Design Bases. 
193. — Rectangular or Checked Base, 194. — Elaborating Minute 
Checked Intersection Units. 195.^ — Damask and Diaper Checking. 
196. — Converting Twilled Weaves into Diamond and Waved Checked 
Types. 197. — Waved and Diamond Checks with a Plain Ground. 
198. — Various Checked Forms with a Plain Grotmd. 199. — Develop- 
ing a Constant Checked Type. 200. — Cord and Repp Weave Checking. 
201. — Star Checks. 202. — Checked Patterns in Multi -weave Com- 
pounds. 203. — Development of Diamond Outlines in Checking. 
204.- — Weaves Applicable in Modifying Diamond Outlines. 205. — 
Special Weave Structures and Checked Styles. 206. — Open Weave 
Structures and Checked Compounds. 207. — Rhomboidal Base. 
208. — Rhomboidal and Transposition Bases. 209. — Transposed Base 
in a Single and Compound Build of Fabric. 210. — Interlacing Figuring. 
211. — Diamond Structure of Pattern. 212. — Lozenge-shaped Types. 
213. — Compound Geometric Types. 214. — Combination of Trans- 
posed and Checked Pattern Bases. 215. — Circular and Geometric 
Forms. 216. — Design Construction on Weave Bases. 

191. Weave Units as Design FonnuJae. — Many of the standard 
weaves, as has been shown, have a geometric structure. The 
basic plan of the plain and of its derivatives is rectangular ; 
that of the twilled crossings, in all their varied forms, consists 
of parallel lines of intersection details traversing a given width 
and length of cloth at a pre-determined angle ; that of the 
check, and also of intermixed checkings, is a quadrilateral 
figure ; and that of the different types of transposition weaves 
is rhomboidal. The " sateen " base is of another order. It 
consists of a mathematical division of the weave (threads and 
picks of which the sateen is composed) into a number of equal 
parallelograms — 5, 6, 7, 8, etc., in sateen makes occupying 
these numbers of shafts. But, in each of these bases, the 
design plan is purely a weave unit — a simple but complete 

305 

20— (5264) 



306 DRESS, BLOUSE, AND COSTUME CLOTHS 

scheme of intertexture adapted for producing a distinctive 
structure of cloth with a specific surface effect. Such 
weave elements have been considered, firstly, as systems of 
warp and weft interlacing in fabric building ; and, secondly, 
in regard to the minute, and in a number of examples, the 
mosaic forms of pattern they produce. 

There is strictly no technique or craft comparable with that 
of Weaving in the means which it provides for the origination 
of design details. In the manifold orders in which the threads 
of warp may be intersected with the shots of weft, there is 
unhmited scope for acquiring diversity of fabric construction, 
and diversity of decorative minutiae ; and, in the use of 
coloured yarns, variously assorted in the warp and weft, each 
scheme of intersection is capable of giving a special description 
of textural style. Viewed from this standpoint, the subject 
of Woven Design — to whatever class of manufacture it relates — 
affords the widest range for experiment in the elements of 
loomwork resulting from Weave Principles, and also in their 
Colour Arrangement and Combination as effected by the cross- 
ing of the threads of warp with the shots of weft. When these 
principles are understood, the more complex phase of textural 
design, as it exists in weave compounds, is presented for study 
and analysis. For a fuller exposition of Colour Technique, 
the reader should consult Colour in Woven Design and Chapters 
XI and XII in Woollen and Worsted. 

192. Design Bases. — In " Design," as a resultant of com- 
bining Weave Units, the striped, geometric, and other bases on 
which the patterns are originated, will be treated of, and the 
principles of work comprised will be examined relative to 
each weave unit appHed. This method of analysis treats, 
in the first place, of the basic type ; secondly, of the 
weave units suitable for combination in a particular form 
of design ; and, in the third place, of the practices in loom 
setting, and in the warp and weft orders of colouring adapted 
to certain weave compounds in making definite styles of 
pattern. 



GEOMETRIC DESIGNS 307 

The following Design Bases will be illustrated and 
described — 

I. Rectangular or Checked Type. 

II. Rhomboidal Type. 

III. Interlacing Type. 

IV. Diamond and Lozenge Types. 
V. Compound and Geometric Types. 

193. Rectangular or Checked Base. — Here the common 
variety of pattern is that of checking. As the several Idnds 
of weave units are combinable in striped arrangement, they 
may also be worked on similar principles of combination into 
designs of a checked character. It follows that should the 
twilled weaves, of which the specimens A to D (Fig. 113) and 
E to J (Fig. 114) are the result, be re-arranged and re-ordered 
in the picks in corresponding sections as the threads have been 
shown to be regrouped by the healding drafts A' to D' (Fig. 113) 
and E' to J', (Fig. 114), they would give checked styles formed 
of equal rectangular areas as the stripings represent. Such 
duphcated drafting would cause the striped units to be changed 
into square and parallelogram units of effect. From this, it 
is to be understood that hne, waved, angled, pointed, and other 
striped patterns, due to the combination of weave elements, 
have their complementary forms of pattern in checkings. It 
will therefore be useful, in treating of this textile design scheme, 
to explain briefly the technicahties underlying its formation, 
as a derivative or modification of striped weave compounds, 
taking lined and other checks as typical of the plan of 
construction. 

The small rectangular effects in Figs. 172, 173, 174, and 
L75a are apparently acquired by reversing the picks as well 
as the threads in the weave unit marked in H 's ; whereas, 
in Fig. 113, the order of the intersections in the warp threads 
are simply inverted for giving the striped characteristics. 
In checks, as in stripes, different descriptions of crossing may 
be used, but particularly those of a regular twill and sateen 



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Fig. 173. 





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Fig. 174. Fig. 175. 

Line Checkings in Various Weaves. 




A B 

Fig. 175a. — Irregular Mat Check. 



GEOMETRIC DESIGNS 



309 



variety, which allow of the Une details cutting smartly with the 

details of which the rectangular figures in the pattern are formed. 

The line arrangements are modified by reversing two or 

more threads as in Fig. 173 ; or, for rendering the cutting 




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Fig. 176. — Duplicated Line Check. 



lines the more distinctive feature of the style, they may be 
developed in a special type of weave as in Figs. 176 and 177, 
where matted plans are substituted for transposed ends and 
picks. This latter practice is also suggested in the use of 
cord and mat weaves for making the intersecting lines in the 
checkings in Figs. 175 and 175a. 



310 DRESS, BLOUSE, AND COSTUME CLOTHS 



194. Elaborating Minute Checked Intersection Units. — By 
combining two threads, the opposite of each other in interlacing 
order, on a pre-arranged plan, it was demonstrated in reference 
to Figs. 116 to 120 how the most elementary type of woven 
checking is producible. Plans A, B, and C (Fig. 178) are of 
this structure, but will now be apphed in the origination of 
checked designs containing several weave elements. Each 
series of intersections in these plans will be assumed as repre- 
senting a determined number of threads and picks in a com- 
pound weave pattern, or the plans will be regarded as funda- 
mental forms of checking. Taking each intersection in Plan 



uss.mmmgm>m.n 






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Fig. 177. — Cut-Weave Check. 

178a, as corresponding to 5 ends of warp and 5 shots of weft, 
it would result in an enlarged type of checking, 30 X 30 on 
the point paper, that is, as mapped out in Fig. 178d, which, 
it will be observed, is an extended counterpart of the sectional 
base in Fig. 178a. Applying the warp sateen to the portion of 
the design equivalent to the details printed in D's, and the weft 
sateen to the portions equivalent to the details printed in Ms, 
gives a checked pattern (Fig. 178d) consisting of rectangular 
spaces in sateen makes. 

Sketches thus prepared may obviously be made typical of 
the manner in which specified groups of threads and picks 
should be combined in producing a repeating checked pattern. 
Clearly, each of the details in B's, Q's, M's, S's, and D's 
may also be considered as suggestive of different weave 
structures. Assuming, for example, that they severally corre- 
spond to 8 threads and picks in Plans 178b and c, the result 



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mTTTmo .._. 


a 

•)0 

o 

b 

)0 

P 



:?o 
o 
o 





Fig. 178a. 





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o 


o 


• 


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• I. 


/ y-t 


• 


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Fig. 178b. 







y 



o 



u 



o 



ou 



T57575 



CO 



o# 



Fig. 178c. 
Examples in Check Motives. 



312 DBESS, BLOUSE, AND COSTUME CLOTHS 

would be an enlarged check on point paper of 56 threads and 
picks. On the sectional parts of the design thus devised, 



_• • 

• • 

• o 

• •_ 

__•_ _• 

•^ • 

• Z_JL 



__• 

• 

_• 

•_ 

_• _ 

_ • 

• 

• 

• 

• 

_• 

_• 

• 

• 

• _ 

• 

"~ • 

_• 

• 



Fig. 178d. — Diaper Check — Sateen Weaves. 



selected weaves would be run ; for instance, in the case of 
Plan 178b, the outlined check might be treated thus — 

Details in [3 's = 4-end mat. 
,, [o] 's = plain make. 

K 's = 5^ twill to the right. 
,9 H's = weft cord. 



Or treating Plan 178c, on a similar basis, it would give a 



GEOMETRIC DESIGNS 313 

checked combination of the same size (56 x 56), developable 

in such weaves as the following — 

Details in [o] 's = mat. 

,, Kl 's = warp cord. 
,, H 's = weft cord. 
E]'s = 5^twlll. 

195. Damask and Diaper Checking. — While this class of 
checldng finds its specific apphcation to hnen and worsted 
fabrics for decorative use, it is a fundamental basis of design 
which, in other weaves than the 5-shaft and 8-shaft warp and 
weft sateens, such as the common twills, plain and leno makes, 
may be effectively employed in dress fabrics. Tt is illustrative 
of the principle of dupHcating a definite but strictly limited 
assortment and plan of intersection details in the production 
of compound check designs. 

The method of combination differs from that dealt with in 
regard to Figs. 116 to 120, in that the fundamental plan is not 
a complete scheme of intertexture. Fig. 179 is, as in the 
checldngs weavable on two shafts, the result of the re-arrange- 
ment of a given number of intersecting threads — ^the first three 
in the example — ^but it wiU be seen that the design would not 
make a fabric structure. If, however, as in the examples 
described in the previous paragraph, each intersection were 
taken as a 4- thread and 4-pick unit, and the plain weave were 
apphed to the blank sections, and a mat weave to the sections 
in B's, the design would repeat on 276 ends and picks, and 
the ground would be in plain and the checldng features in mat. 

196. Converting Twilled Weaves into Diamo7id and Waved 
Checked Types. — It was indicated in reference to Fig. 158, that 
by drafting the picks of weft as the threads of warp, diamond 
figures would be formable in Stripe B. The apphcation of 
this practice in drafting is shown in Figs. 180 and 181, where, 
by using, in the first pattern, a y^ twiU, and, in the second, an 
8-shaft plan, the rectangular sections in twill, waved lines, and 
in diamond-shaped details, have been constructed. Selecting 
twilled units, varied in the intersection fines, and retaining the 



314 DRESS, BLOUSE, AND COSTUME CLOTHS 

basis of construction as a standard factor, patterns, more or 
less decorative in style and structure, are obtainable in different 
classes of dress fabrics. Weaves suitable for this purpose 




Fig. 179. — ^Drapted Diaper Check. 

include those seen at A, Tig. 102 ; B, Fig. 103 ; C, Fig. 104 ; 
and twills on 9, 10, or 12 shafts arranged — 

311 311 313 , 311 =Warp( inter- 

2 i ]~' "§ i r ' 2"^ r~' ^'^ 3 2 1 * =Weft {sections 

It will be seen that the idea is that of using the twilled crossing 




D 



D{ 



B{ 






)C 



>A 



B A 

Fig. 181. 
Drafted Twill Checks. 



316 DRESS, BLOUSE, AND COSTUME CLOTHS 

for section A (Figs. 180 and 181), and of running it alternately 
to the right and to the left in the threads for section B, and in 
the picks for section C, and of reversing the twill in both the 
threads and picks for section D. 

197. Waved and Diamond Checks with a Plain Ground. — 
Diamond, waved and spotted checkings, with the ground of 
the texture woven in plain, are a. modified description of this 
principle of design. The blouse specimen in Fig. 182 is 
illustrative of this form of combination. Considering the 
design as a weave compound, that is detached from the colour 
scheme by which it is neatly enhanced, it comprises — 

(1) The simple form of checking in sections A and A', 
centrally ornamented with a series of spottings. 

(2) The weave units produced, where the texture is woven 
6 picks of cotton and 4 picks of silk, or the detailed features 
in section B. 

(3) The corner diamond j&gures which, in 2-and-2 colouring 
produce, in the drafting plan, the details seen at D and D^. 

(4) The waved features along section C due to the design 
for the diamond spottings in A, and to the healding draft for 
section B. 

In designing checked styles of this character, the detail units 
are primarily selected and planned on a suitable base. This 
done, the system of drafting is formulated, and ranges of designs 
are originated workable in the selected healding draft. 

198. Various Checked Forms with a Plain Ground. — Several 
of the designs examined have been made from one weave by 
transposing its thread and pick units ; but, in the intersecting 
lines for specimen Fig. 182, a waved element is combined with 
the plain crossing, and the resultant effects converted by 
drafting, into a diamond check. Other typical examples, with 
plain as an ingredient, are given in Figs. 183 to 187, in which 
the plain make lends stability and evenness to the texture, 
while the mat, cord, and fancy weaves impart the design 
effects. To bring out the structure of each plan in this form 
of check, certain groupings of tinted yarn are essential. These 



Bfi v^\^- ^M 


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03 




318 DRESS, BLOUSE, AND COSTUME CLOTHS 

groupings may suitably tally with the method of weave 
combination, as, for example, in — 

Figs. 183 and 184, Coloured 8-and-8 in both Warp and Weft. 
Fig. 185, „ 1-and 1 

Fig. 186, „ 8-8-and-8 „ „ 

Fig. 187, „ 1-and-l or 

4-8-and-4 ,, ,, 

applying two sets of coloured threads in each warping and 
wefting arrangement. Designs of this class are also woven in 
one colour of yarn in cotton, linen, silk, and worsted textures. 

It should be pointed out that a change in one of the weave 
units in the pattern, alters the textural effects, though the 
checking features remain constant. Figs. 183, 184, and 185 
are of the simplest form of pattern, the sectional checkings 
being composed of equal numbers of threads and picks. In 
the first of these examples plain is combined with mat, in the 
second plain with warp effects and checked repp ; and, in 
the third, squares of plain with squares of checked repp. 
Fig. 186 is a compound of Plans 184 and 185, resulting in 
larger and lesser squares of detail, in plain repp and warp 
effects respectively. The basis of the counter-change check is 
illustrated in Fig. 187, in which section A is transposed at 
B, and C at D, with the plain elements in A and B produced 
in warp and weft repp in C and D. 

199. Developing a Constant Checked Type. — Each of the basic 
forms of checking is adapted for development in a variety of 
weave units, and in different sizes of pattern. The common 
checks, with the two types of effect transposed, are applied 
to the several classes of dress manufactures, and are formed in 
many types of crossings. For example, in the 8-and-8 check 
in Fig. 188, parts A consist of 2-and-2 mat and parts B of ■^— 
twill reversed, with parts A and B transposed on the dice 
principle. Regular, as well as modified mats on 6 and 8 threads, 
or weaves composed of mat and plain, are treated on this 
system of plan-maldng, and combined mth 6-shaft and 8-shaft 
twills. 



GEOMETRIC DESIGNS 



319 



Another elementary order of checking, developed in quite 
a number of the standard weaves, is that in which larger and 

D 



B< 



-:!::i::ii:i^:t:ii:Eh«::iL:Ei::I: 
z; !::.EiEi! E^EjlEI :i;;h^ E[ I 

■ " • •• • • i» « • • 
Z'l-IIIZiItZZIIIIIiIIillllill'II 

z:::!!::izizz|zzEi*:::^:i«i*^:|::' 
■zzzz!zzizzizzi:if:zizzi:ziizizzlz 

1 |«| |»l I Ul I l«l Ul I l»l I l> I Ul I Ul T~ 



}A 



FiCx. 190. 
D C 




Fig. 191. 
Checking in Thkee-weave Units. 

smaller squares interchange with each other, and with inter- 
mediate parallelograms in a third variety of textural detail. 
Figs. 189, 190, and 191 are given in illustration of this basis, 



320 DRESS, BLOUSE, AND COSTUME CLOTHS 

and also of the weaves usable, and of the methods of combining 
them. The first design consists of four crossings, namely, a 
12-shaft small diagonal, warp and weft cords, and the y- twill ; 
the second of 8-shaft fine warp twill, sateen, weft-face twill, 
and twilled mat ; and the third, of irregular hopsack, 3^- twill, 
and of the hopsack reversed. While, on the preceding base, 
two or three weaves were selected with different plans for 
sections A or B respectively, in Figs. 189 to 191 the larger 
sections A are usually formed in one weave, sections B and C 
in one or two weaves, and section T> in distinct type of weave, 
The object, in constructing the designs, is to combine weaves 
which accentuate each other and define the sectional parts 
of the style, and which also yield a sound description of fabric. 
200. Cord and Repp Weave Checking. — Cords and repp plans 
are employed in the origination of simple and intermingled 
checked designs. Their use in the former was noted in 
describing this class of plain- weave derivatives. Irregular 
cords, such as those observed in Fig. 192, admit of either two 
warp or two weft crossings being transposed as in parts A and 
B of this example, and marked in H's, H's, Kl's, and ^'s. 
Colour practice is important in the weaving of these patterns. 
Though constructed on a check base, they may, by adopting 
certain systems of looming, be changed in character. Warping 
and wefting (Fig. 192) as below — 



for 6 



One thread or pick of grey } 
white 1 
white I 
grey ) " 
grey / 
white ) " 

would give an ordinary checked formation, but should the 
order of the colouring be changed throughout the warping 
and wefting to 1 grey and 1 white, similar effects to those 
seen on point paper would be also observed in the woven 
production. This arises from the fact that the grouping of 
the shades would tally with the weave structures, bringing out 



GEOMETRIC DESIGNS 



321 



their distinctive details. It would, therefore, cause the dotted 
intersections in part A to form transverse lines of white alter- 
nating with transverse lines of grey, and exactly set across 
correspondingly coloured lines in the sections marked in Ms ; 
whereas, in section B, equivalent but vertical lines in grey and 



• ■■■I* 


E SESS" EE 


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58 ^:.SEEE^^°„„EE 


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"sssg2::„,sssss 


I"h h™ • « •' 


E :s2ss ::sE 


'III* 




* * * pi pi B • • a 


r~ ,sl8si::_:^sisg 


'i^^^ir 


jiSi SSSSi 


*l IB • • • 


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• • • B M W»~m 


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• • • ~H~~H H~ • • •! 


,X^is iS„,„,„siS2 




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•H H H 


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• ~H H~H~ • • • 'A 


„„I„SS2SS ssss 


• • PUU^* • • 


l5^„„„^2S52^^^^^SS 


r-^-^- B B B*-T-?- 


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t • • B fl fl* 


&2„^^„^2SSE_ ^-,„„ES. 


B B B • * • 


^„EgESE„_,„^ESSSE„„. 


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SS„„„ -EgSS„^,~ SS 


'h^ni^H^i • * • 


. _SEg2S __ESSEg _. 


I'l l»l I'B B B 1 1*1 I'l \'\) 



B A 

Fig. 192. — Repp or Cord Check. 



white would be relatively arranged in the details in H's and 
in lEl's, as in parts A of the j)attern. 

This method of colouring is also applied to checks in which 
twilled and ribbed waved i)lans are employed, as it adds to 
the diversity of the textural contrasts in a given design. 
Thus Fig. 193 would, in piece-dyed goods, result in a well 
pronounced type of checked style ; but, if arranged in the 
warp one thread of tone 1 and one thread of tone 2, and 
wefted in tone 3, the waved lines would be expressed succes- 
sively in tones 1 and 2 ; the weft cords, in parts B and C, in 
tone 3 ; and the small squares of effect, in D, in the three tones 
intermingled. To further show the utility of the colour 

21— (5264) 



322 DRESS, BLOUSE, AND COSTUME CLOTHS 

scheme in cord and weave combinations, Fig. 194 may be 

assumed to be tinted as follows — 

Warp — 1 thread of light red, and 1 thread of toned red. 

Weft — 1 pick of light greenish-blue, and 1 pick of toned greenish-blue. 

The design is made up of warp cord, in Kl's ; weft cord, in 



D 




}C 



A 



Fig. 193. — Waved Cord Check. 



B's ; and of a checked warp and weft cord, in I's. The 
first would, in this order of colouring, develop warp Hnes in 
tinted and toned red, the second weft lines in tinted and toned 
greenish-blue, and the third, a melange spotting in the two 
tints and two tones of colouring. Seeing that in weaves of 
a repp structure, the warp plans conceal the weft interlacings, 



GEOMETRIC DESIGNS 



323 



and the weft jjlans the warp interlacmgs, they enable the repp 
details, either warp or weft, to be developed clearly in two 
shades, and yet the pattern scheme — checked or figured — to 
be distinctly brought out in the cloth. 

201. Star Checks. — Ordinary star checkings are jiroducible 
by colour arrangement in the elementary weaves, such as in 
the 2-and-2 order of warping and wefting in the plain weave ; 
in the 4-and-4 colouring in the 2-and-2 mat ; and 6-and-6 
colouring in the angled (3-end twill. Another species of star 
checking, and that noAV comprised, is derived from types 
of woven colour effect, but the base is extended and two or 
more weave units are combined. 




Fig. 194. — Check in Wapp and Weft 
Cord Weaves. 



This description of checking will be treated of by showing 
that the different types of geometric form may be arranged 
on a rectangular plan. Such form t}^es may be in juxta- 
position in the pattern, or they may be detached from each 
other, and with the intermediate ground spaces filled in with 
the selected weave units. Fig. 195 is designed on the latter 
basis, having a 16-shaft weft twilled cord in the star features, 
and a 12-shaft warp twill in the sections marked in E's. 
Increasing the area of the ground between the figures tends 
to subdue the checked quahty of the pattern, but this may be 
obviated by altering the base utihsed on some such principle 
as shown in Fig. 196, section A of which shows the star grouping 
m Fig. 195. Considering each intersection in this modified 



324 DRESS, BLOUSE, AND COSTUME CLOTHS 

base as equal to 8x8, the extended design would be on 
96 X 96, and the stars marked in I's would be woven in a 




Fig, 195. — Star Check — Corkscrew Weaves. 



different plan from those marked in Kl's, so that the over- 
checking lines would appear in the pattern. To make this point 
clear, two practices in working out this base are as follows — 

Practice I 
Effects in Grey in Fig. 196 = Cassimere. 
Kl's „ = Mayo. 

,, I's ,, = Warp cord in tlie four centre inter- 

lacings and weft cord in the four 
points of the star. 



OEOMETPdC DESIGNS 



325 



Practice II 
Effects in Grey in Fig. 197 = Plain. 



= Cassimere. 
= y-'- twill. 



In the first of these weave arrangements, the groinid would 
be cassimere, with the two series of stars, in El's and in Ws, 
in Fig. 1 96, in mayo and warp and weft cord ; and in the second 




'j^:MM-m 




Fig. 196. — Star Checkings. 
weave grouping, for a hghter build of fabric, the ground would 
be in plain, the stars in Kl's in cassimere, and the stars in I's 
in warp twill. 

With a view of producing the checking elements in contrast 
with each other, the plan of arrangement followed is that seen 
in Fig. 197. Using this as the basis of a design on 64 X 64, 
it would be suitable for development in the plain make and a 
4-shaft weave ; in 4 and 8-shaft crossings ; or in three 8-shaft 
weaves, such as the details in H's in the 8-shaft warp sateen, 



326 DRESS, BLOUSE, AND COSTUME CLOTHS 

the details in Kl's in plan F, and the details in grey in Plan 
J, Fig. 104. 

202. Checked Patterns in Multi-weave Compounds. — Checked 
patterns are, in effectiveness and in symmetry of composition, 
the result of textural contrasts. In the smaller and simpler, 
as in the broader and more complex design structures, the tone 
and quahty of the several weave units, of which the checking 
lines and other features of the patterns consist, impart style 



^ - : ■_ •-•. 


^^^ 


M 








n 


m 


"T i 


^ 


1^ 


^5 




^^ 




T\ru 


1 



197. — Star Checkings. 

definition and originahty. Combining, as in Figs. 183 and 185, 
plain and mat and plain and inverted cord weaves, produces 
minute squares then two textures in the same fabric. All 
checked cloths are, therefore, composed of alternating rec- 
tangular portions of distinct textures, woven in two or more 
crossings, or woven in transposed weave plans. Elaborating 
the weave types employed, and the geometric order in which 
they are assorted one with the other, may be practised to an 
indefinite degree, but the process of elaboration carried out 
must be in absolute accord mth the form of design intended, 
and with the manufacture of a wearable cloth. 

Three illustrations in multi-weave compounds of a special 
order, yet in which the standard forms of check arrangement 
obtain, and given at Figs. 198, 199, and 200. Fig. 198 is 



GEOMETRIC DESIGNS 



327 



constructed on the j)lan of grouping rectangular spaces of effect 
of equal proportions, namely, 32 x 32 ends and picks for 
sections A, B, C, and D ; that of Fig. 199 of combining larger 
and lesser areas of detail and of intermediate oblong figures 
C D 




A A 

Fig. 198. — Checking in Diagonal Weaves. 

in a third weave ; and that of Fig. 200 of forming squares of 
open weave structures, with a special textural unit for 
developing the divisional features. 

203. Development of Diamond Outlines in Checking. — Each 
design is distinctive in type and in structural elements. 
Examining Fig. 198, it will be seen that a 16-shaft diagonal has 
been selected for part A and inverted for parts B, C, and D 
on the dice scheme of checldng. The diagonal weave in this 



328 DRESS, BLOUSE, AND COSTUME CLOTHS 

illustration, gives a lozenge form to the checked composition. 
Had the details in I's been of an ordinary twilled kind, this 
characteristic would not have been acquired. When the 
weaves are of the repp description, and run in a twill, the 

g D 






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A< 



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jamaBliDBmQaliDSiPaiQMiPBinBaa^BBQMjr 

BBaMBaanaaB&aSPBa0jia.D«BDBDiBPBaAQMB.naMB 

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1 1^ !gl \m !•! 19 



gtJSLJSLJZB- 



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A B 

Fig. 199. — ^Fancy Checking in Cord and Twill Weaves. 



process of reversing them tends to show a waved line; hence 
the duplicated transposition of such effects produce, as seen 
in the example, either a diamond or a lozenge figure. This 
class of compound check and lozenge basis of design is also 
obtainable in diagonal plans in which the order of transposition 
results in corresponding lines of effect in the series of warp as 
in the series of weft intersections. Included in the plans given 




f/3 



a 
u 

H 

o 
u 
m 

H 

> 
U 

O 



330 DMESS, BLOUSE, AND COSTUME CLOTHS 



in the standard shaft-mountings, the following may be selected 
for the construction of similar varieties of pattern to that 
reproduced at Fig. 198 — 



Twilled Type. 


Plans. 


Sectional parts in which the 
designs should be made. 


Heddle Mountings 

In which the 

designs are 

weavabi e. 


7 -shaft 

8-shaft 

10-shaft 

12-shaft 


D & E, Fig. 103 
C2 & D2 „ 77 
J & N „ 106 
H & „ 108 


14 X 14 21 X 21, etc. 
16 X 16, 24 X 24 „ 
20 X 20, 30 X 30 „ 
24 X 24, 36 X 36 „ 


14 shafts. 
16 „ 
20 „ 
24 „ 



204. Weaves Applicable in Modifying Diamond Outlines. — 
For developing the checked outline, but for modifying the 
diamond features observed in the repeats of the design in the 
fabric in Fig. 198, such plans as 'are specified below may be 
employed — 



Twilled Type. 


Plans. 


Sectional parts in which the 
designs should be made. 


Heddle Mountings 

in which the 

designs are 

weavable. 


6-shaft 


N, & P, Fig 


102 


12 X 12, 18 X 18, etc. 


12 shafts. 


7-shaft 


A, B, C & D „ 


103 


14 X 14, 21 X 21 „ 


14 » 


8-shaft 


B, C & F 


104 


16 X 16, 24 X 24 „ 


16 „ 


9-shaft 


A, B & C 


105 


18 X 18, 27 X 27 „ 


18 „ 


10-shaft 


H&L 


106 


20 X 20, 30 X 30 „ 


20 „ 


12-shaft 


M& P 


108 


24 X 24, 36 X 36 „ 


24 „ 



These weaves are indicative of the varieties of crossings 
usable, but are not to be taken as covering the many kinds of 
twills — elongated in the warp or weft according to the descrip- 
tion of pattern intended — and other types of fancy twills 
running at an angle of 45°, which are, in addition, adapted for 
this style of checking. When, however, more decorative 
textural effects are desired, and in fine fabrics, specially-con- 
structed weaves are appHed. Should, in these instances, the 
details of the crossings, as in the diagonal make in Fig. 198, 
give prominence to both the warp and weft intersections (see 
the warp and weft transposed elements in sections A and B) 
it is essential that the weft, as well as the warp yarn, should be 



GEOMETRIC DESIGNS 331 

of a suitable count and quality for expressing such effects 
clearly and smartly in the woven cloth. 

205. Special Weave Structures and Checked Styles. — ^Fig. 199 
belongs to another category of checking as regards weave 
composition. Here the system of inverting and transposing 
given plans of interlacing is not practised either in parts A 
or D ; and in parts B and C one weave is an irregular warp, 
and the other an irregular weft cord. The textural plan in 
part A is of a varied formation, having some resemblance, in 
the interlacing details, to the filament contexture of a spider's 
web. That this has been rendered feasible is due to the practice 
in combining and planning the warp and weft intersections, 
which are formed in fine twill, weft elements, plain weave, 
and in warp and weft repp systematically diversified in length 
of float. Section A of the check is a complete and effective 
blouse plan either in piece-dyed fabrics, or in variously- 
coloured fancies. It is shown here as the principal weave 
scheme of a checked pattern on 48 threads and picks, and in 
combination with weaves that develop its definite structural 
features. Plans B and C result in neat areas of warp and weft 
repp, while the 12 ends and picks of twill form a corner feature 
which also harmonizes with and accentuates the details in 
parts A, B, and C ; and, at the same time, gives a special tone 
to the design composition. 

206. 02)en Weave Structures and Checked Compounds. — 
Fig. 200 is typical of the technical and weavmg ingenuity which 
may be displayed in the construction of checked patterns in 
which the plans combined are open in structure. In the 
example the method of assorting the weaves, as well as the 
practice, in selecting the types of weave employed are sugges- 
tive. It is, in such styles, a question of producing new and 
effective textural contrasts and of acquiring an appropriate 
build of fabric, with the weaves so grouped as to give a pro- 
nounced checking. There are, in Fig. 200, first, the warp and 
weft floated features marked in I's ; second, the inter- 
section plans marked in H's ; third, the special twilled lines 



332 DRESS, BLOUSE, AND COSTUME CLOTHS 

in grey ; and fourth, the elongated mat or hopsack details 
printed in S's. The effects of each plan are quite visible 
in the photographic reproduction at Fig. 200a. The inter- 
section value of each weave unit is here observed, but the 
details, due to the respective crossings, are better defined in 
the woven specimen than in the illustration. Designs of this 
originality in weave combination, and also those described 




^jira^:^^^5^5E ^ 




Fig. 200a. — Textural Effect of the Design in Fig. 200. 

under Figs. 198 and 199, are, in the loom-setting practice, 
adaptable to silk, cotton, and linen manufactures, and likewise 
to union dress cloths. This open-make pattern is, for example, 
weavable in a silk and linen union, using 2/60's linen warp, 
crossed with 20's silk, and having approximately 102 threads 
and 96 picks per inch in the loom. 

207. Rhomboidal Base. — The term " rhomboidal " has been 
appHed : (1) to twilled patterns in which the twiU lines are 
worked into parallelogram forms, with the figures in a trans- 
posed relation ; and (2) to compound and fancy twilled 



GEOMETRIC DESIGNS 333 

features blended into rectangular figures, set across each other 
in the repetition of the design. But the term is, in a sense, 
descriptive of all types of pattern consisting of such geometric 
figuring, should the figured forms be symmetrically inverted 
and disposed at right angles to each other in the composition 
of the style. The first variety was treated of in dealing with 
the principles in originating weaves on a transposition base — 
the plans, illustrated at Figs 95, A, B, etc., being suggestive 
of the rhomboidal base as apphed in weave construction. The 
scheme there presented is adapted to extended and decora- 
tive treatment with the weave elements selected, and with 
variations in the number of threads and picks the designs 
occupy. 

Fig. 201 is a design type formulated on this basis. First 
the broad lines in weft twill marked in I's are exactly 
transposed, starting at the points a and a' on the 1st pick 
and thread, and on the 25th pick and 48th thread of the 
example. Next there have been added, on each side of these 
details, the Unes in plain in R3's, and also of the varied weave 
features in El's ; followed by serially transposing the several 
groups of pattern elements worked out in relation to the 
initial lines a, and in corresponding sequence and relation to 
the initial line b. 

Such a plan of design gives geometric forms of a different 
quality and structure with the movement of the twilled type 
employed. Using, as in Fig. 202, a twill moving 2 picks for 
1 thread, divides the area of the design into the parallelograms 
A and B, intersecting each other at right angles, the inter- 
mediate spaces being of a lozenge shape, and filled in with -g-^ 
twill checked. In the sketch at Fig. 203, another principle 
of arrangement is shown with figures C and D and E and F 
formed into stripes, but C set across F, and D across E. One 
portion of this sketch transferred on to point paper, is seen at 
Fig. 203a developed in 4-shaft twills, which twills are suffici- 
ently dissimilar from each other in effect, to impart a suitable 
degree of emphasis to the different sections of the pattern. 



334 DEESS, BLOUSE, AND COSTUME CLOTHS 

Should, for instance, the style be woven in a light shade of 
warp and a medium tone of weft, the respective parts of the 
figure would be clearly developed in the fabric, for those in Ms 



mm- /^ r, m 7 "> ■■■^Lf') '-'JUi 


WT'^ <^ ••• ••• • '~'^^^^HL" ^^^^ 


• ••••• •••n ''I P^^^HI (^ (■) r^Pn 


a*. • «•• ' ^HHBI " " W[, 


h n, » » m ••. n C^ PI^^BI '> (> * * * <-> 


«>a '^^I^^Bl P " * 


S?.. •f^^^ ll^^Bl ' > <> • 


• ••••• X X ••• ••* '.? hIHIHIi " " • * * * * * 


.••« Vy'y,»»»»» n r^nHHIl () • •• 


...vyvy-... o n^^^Bi (1 (1 • • ••• 


--- VVVVs/... r> r>^^HM U (> • ••• 


... y V yVv V y . . . » i> ^BBri^ ^ '•* 


. . y 7 v'yy yy .•• •••i>:-) pB^B_^j u • 


• ••ys/yvy • .•.•••«(■> CI PQHHL^ " 


• •• ^/ ^ V V ••• ••"in I^H^^L'> 


• •• ^yx ••* ••• citd IIIHIHL'' 


• • • —*" <•• v'v ••• «•• • '^ pVHUEi^ '^ 


» * y ... • a a • a a a a • • rV O' P^^^BCI Q 


a.. aA "^V^HJL ^ 


r) ••• ••• do ••••••UU ^4^^^|L^ 


r>0 aaa •••• n 'A J^T • • • • • ^ : > ^H^^BB" 


n n • • » ••• ni*i ^riHjjr C) o ^^^^^HH 


UOO* ••• aaanr") I^^Hp • • • • L) U ^^^^H 


^H '^ '^ • o "s iHHVf ^ *** ^ ^ r^H 


^■H n aaa h i^ ~M|HHr ^ ?J • • • IJ O ^H 


^^^h a • a a r'> O HH|V^ OS* ••• •••UD ^1 


^^^r aaa ••• O (^ UIHMl ^ 6 • • • ••• ••• OU 


^F '• a ••• n (") ■■■Hi t^'*) ••* •••• UU 


aaa a a a ft r, ■H^HT'^ '^ •••••• 


• aaa • n ^ MHBT '^'^ ••••• aU 


.a. '1 rt ll^^Hr Mf^• ya»» ••• 


a. a a.an/^ I^H^PT''' l^"** ••• XK****** 


fa. a a • r) " Hi^HBr'^ '^ •••••• 5^i?»«#» • 


.*• • • n r, H^BTn o •••• yXX>^.»» • 


... • n •) h^^HT'^ " • • • ^ X A V «■ • ... 


• •• ^> ^> H^n " '' • ..XX >^yx >< >t' ••• 


• <■> <> h^^PF" " ^ '<■ ^K^ ^ ^ • • 


n (> ■^■^^'^ "• XxxXl^».» 


n (-1 H^MT'') (^ ••••». ...y'xVS^ *••• 


n ri ■^■^^H'-i • •,• ••« ••• • x; y x ,. ••• •••_ 


P5 ?) '■^■T''' o..».». ••••••yx ••• »•• 


n f> t^^^KT^ n^ •••••• ..• a'cX 


/. (*) ll^HHr''' ')•••••• ••• 


r> IH^H^^^^ ()•••••• 66 ••* ••• i!) 


"M^^^V^n n • • • • • H •••• ••• Op 


h^H^^^^ n aa* a*. Ilhl ''^ ^'^ • • • 6 L> 


^H^^i(^ <? • • • • iSHfel a n • • • sju J| 


^^■"(^i ri ■•• r)^^^HH o () • |. • • i;> ("^ ||H 



6' 



6' 



Fig. 201. — Rhomboid al Base. 



would be in the medium tone, those in H's in the light tone, and 
those in K's in the two tones equally blended. 

208. Ehomboidal and Transposition Basis. — The rhomboidal 
is to be distinguished from the pure transposition base of 
design. The latter generally consists in selecting a simple 
or decorative type, and systematically inverting its integral 



GEOMETRIC DESIGNS 



335 



parts, but the former comprises also the construction of the 
figure by the class of weave structures combined, and the 
regular transposition of these in completing the pattern. 

The rhomboidal character in Fig. 203 is, however, elemental 
in the plan of figuring. Here, and also in Fig. 204, the basical 
scheme is rhomboidal, in so far as quadrilateral figures are 

C 




A C 

Fig.' 202. — Elongated Rhomboidal Pattern. 

employed whose angles are not right angles. The different 
forms in the latter — woven in y- twill in the ground — are 
determined by the lines in flushes of weft yarn, consisting of 
step twill and of sateen. They show the apphcabihty of the 
rhomboidal principle of pattern design to other than twilled 
units, and arranged as in Fig. 95 A to E, and also as in Figs. 201 
and 202. The types of form blending, derived from the modi- 
fication of the Grecian key pattern, may also be utilized by 



336 DBESS, BLOUSE, AND COSTUME CLOTHS 

producing the divisional lines in warp or in weft crossings, and 
by filling in the intermediate and geometric areas with plans 
of the reverse construction, or with plans of a distinctive 
character. The demarcation features A, A and B, B (Fig. 204) 
are weavable in 2, 3, 4, and 5 threads and picks, according to 
the value it is intended they should have in the definition of 
the style. . , 

CD CD 




E F 
Fig. 203. — Modified Rhomboidal Base. 



209. Transposed Base in a Single and Compound Build of 
Fabric. — Both these examples (Figs. 203 and 204) differ from 
that of the ordinary transposition base which is illustrated in 
Fig. 205, a design composed of the regular figure at A, trans- 
posed in every detail at B, and texturally developed by 
weaving the cloth in a 2-ply structure in the figuring, and in a 
single structure in the ground. 

In sections A and B, every third thread in the warp, and 
every third pick in the weft, floats on the face of the cloth. 



GEOMETRIC DESIGNS 



337 



maldng plain intersections of an open order, but securely 
knitted into the cloth foundation. These threads, by reason 
of theii- separatedness, produce a kind of leno or gauze effect 
on a firm woven surface ; but as the cloth to which they are 
stitched is quite firm in build, there is not here that thinness 
of structure which characterizes the leno fabric. Strictly, the 



•^'j!^rim. 




Fig. 203a. 



figured sections, in this class of design, consist of two weaves, 
working independently of each other, and each forming a 
special texture ; thus, while the threads and picks / give the 
canvas effect, the cloth proper is formed by the threads and 
picks g. In the ground of the pattern, these two sets of 
threads are amalgamated in the single twilled weave. In 
order to clearly develop the pattern style, the threads / should 
be of a different quality from threads g, as for example 2/60's 

22— (5264) 



^S^i523S»SiH 



?^ffl^OT&K!^ 



fSnK5''S" 







GEOMETRIC DESIGNS 



S39 



cotton warp for the latter, and either 2/30's mercerised cotton 
or silk for the former. The figuring threads or picks spot or 
check the single weave ground of the fabric in addition to 
developing the design features, ^ ^ 

210. Interlacing Figuring. — One of the basic geometric 

B 



ecfflliffiB5^5E 



^m^ 




g/gggjgg 



Fig. 205. 
Transposed Base : Single and Compound Weave Structures. 

pattern forms is that synonymous of the masonic craft. It is 
obtained by inverting and intercrossing triangular figures, 
which, whether executed in straight or curved lines (concave 
or convex), are the co-elficient of each other. As such, they 
are indicative of unity and of perfect co-ordination. Each 
of these form units (Figs. 206, a, b, and c) may be translated 



340 DRESS, BLOUSE, AND COSTUME CLOTHS 

into a woven result by developing one figure in warp and its 
complementary figure in weft effect, and by weaving the 
ground of the texture in a third crossing of a suitable con- 
struction for giving equal emphasis to the figures sketched in 
toned and in dark grey. 

The structural plan of interlacing decorative forms here 




Fig. 206c. 
Intersecting Geometric Forms. 

illustrated, is, in textile design, utilized in producing patterns 
on the diamond, the diagonal and figured bases. The diamond 
composition is observed in the simple example in Fig. 207. 
It comprises two sets of interlacing lines in double plain 
makes developed on a single-plain make ground. Colouring 
the pattern 1 thread of tinted yarn and 1 thread of toned 
yarn in the warping and in the wefting would give a textural 
ground in hair-line effects, on which the interlacing details 



GEOMETRIC DESIGNS 



341 



printed in Hi's would be in the tinted colour, and those 
printed in H's in the toned colour. The fundamental 
principle here typified is that of the line effect A passing over 
the line effect B, followed by the line B traversing over A. 
The effects enclosed in these intersecting lines are woven at A', 
in the tinted threads ; and at B' in the toned threads, and 
form central spottings in the two colours on the hair-line 
striping. Enlarging the base, and combining three weave 




B A 

Fig. 207. — Intersecting Style. 

units, such as those which contrast with each other in effect, the 
sections giving the diamond features are variously decorated ; 
so that the textures may be manufactured in one kind of yarn 
in the warp and in a second kind of yarn in the weft, or they 
may be manufactured in one quality and count of yarn for 
piece-dyeing. 

For the appUcation of this base to the diagonal scheme of 
pattern-maldng, the design in Fig. 208 may be considered. 
Here one set of details — ^in 2-^-2 twill or the zig-zag — is employed 
for intersecting with the constant twilled Hnes woven in solid 




C D 

Fig. 208. — Intersecting Diagonal. 



GEOMETRIC DESIGNS 343 

floats of weft. Both sets of detail might be interlaced, that 
is, the lines C made to traverse alternately over and under the 
lines D. The weaves used in the development of the pattern 
are important, for these require to impart a clear, definite 
quality to the diagonal Une, and to be in strong contrast with 
the ground plan. Employing, as in this illustration, sateen 
for the ground, weft twill for effects D, and an 8-end twill for 
effects C, gives a suitable degree of textural differentiation in 
the three species of detail combined. 

Fig. 209 is illustrative of the intersecting design basis when 
the figures in the repetition of the pattern are detached from 
each other, but disposed in a uniform relation, with one figure 
exactly opposite the other. Analysing this arrangement, it 
will be noted that the twin sections of the semi-lozenge figures 
are interlaced but filled in respectively in diamond intersec- 
tions, and in graduated upright weft twills. With two similar 
or identical forms united in this manner in single transposed 
decorative figures, it is advantageous to develop them in 
crossings differing from each other in character. Moreover, it 
is Hkewise essential to apply a ground weave, which, as in this 
example, will give a neat, firm cloth, or one equally effective 
in bringing out the two or more interlacing pattern features. 
With certain sections in this design in a warp diamond make, 
combined with other sections in weft twill, arranged on a rib 
or cord ground — ^run into close contact with the former, but 
allowing compact floats of warp adjacent to the latter — retains 
the quality of pattern expression desired. 

The examples studied have made it evident that should the 
weave units, employed in the production of interlacing designs, 
be sufficiently distinct in structure as to impart clearness of 
pattern style, this practice of design origination resultsin satis- 
factory and original classes of dress manufacture. The subject 
is more elaborately presented in Fig. 210, a form of pattern 
in which a quadrilateral figure is interlaced with a broad, 
waved band, A. The variety of interlacing work it comprises 
is dependent for forceful delineation in the fabric on the 







, ' , ' .'." >i ' " 



141111 






fiiMM&Mj 




Fig. 209. — Intersecting Spotted Type. 




^■■■■DBB'aBaaagBB oociBaaaanBcoDB 
[^■BDaaaB naaoaaaa nQnaBaoDia0Di;a'd 
■aaaBB.cB aaati'aaaa rndBcmmaatSaoSaS 
I.QBBaaga BaaaBBaS BBOOaooa aaBmaa 



rHaoaaoa aaaoBQ'cio aaODacoo al 
iSiiSiS! •B»S!"5B aDOaanoa a 



iBBBBcaa'nnDaacaa cmDoamaaumm 
laapaBBB copaaacc aciaGag'oc aaa 
laatiaaac auDaaaoa aoDcaDoa aa 
isaaaaBQ aacc«a:ca onQa.uo'a aa'a 




■B.Q aacpao.ca DDOB.QOi 
■OS caaaaoba qocbOdb 
■oo Daaagpac tCBQCaB 



oaaancoa BDanciBDD naccaaaa Baaa vcB OQiCB 
aJiaag.Qg.B^ bb.ccbcqc apQaaMaa a aaacEa SaSg 
■aaoaoSi} BBDciaDuC acQaaa a aaaaanCB aerG 




BCD A 

Fig. 210. — Intersecting Geometric Base. 



346 DBESS, BLOUSE, AND COSTUME CLOTHS 

weaves employed being correctly adjusted. This technicality 
has been considered in working out the designs in Figs. 208 
and 209. In planning a pattern of this order, its dimensions 
on point paper are first determined. Then follows the sketching 
in outline of the principal figuring, and that of the waved 
line A, which, in width, should be made proportionate to the 
other decorative details in the design. Next comes the 
question of the weave elements, and of their utiUty and fitness 
in developing these simple form units. It should be observed 
that the irregular joining of the weaves together detracts from 
the value of the woven result. Considering band A as a 
primary ingredient of the style, it is, in Fig. 210, developed 
in 5-end sateen, so that it appears as a toned effect in the 
cloth. If a weft twill were used instead of the sateen, it would 
sharpen the definition of the waved line, but cause it to be too 
prominent a characteristic of the ornamentation. For em- 
phasizing the central portion of the figuring B, across which 
the weft sateen band is formed, a 10-end warp sateen has been 
selected, and this would obtain the requisite accentuation of 
the parallelogram form C. Sections A, it will be noted, also 
interlace with the lines D. Now by constructing these in 
upright weft twills, and in shaded twill moving from the 
extreme edge of the figure, and by applying a buckskin twill 
to the ground, the elemental details, as well as the form types 
in the design, would be as clearly defined in the fabric as on 
the point paper. It will be observed, on examining the illus- 
tration , that the several crossings, though differing substantially 
in textural effect, fit regularly with each other, so that the 
design would yield both a neat build of cloth and a suitably 
ornamented woven surface. 

Various schemes of manufacture are suitable for patterns 
constructed on this basis. Four such schemes, adapted for 
Fig. 210, are appended — 

I. 80 's 2 -fold Silk Warp and 40 's Silk Weft. 
40 's reed, 3 threads in a dent, 
100 shots per inch. 



GEOMETRIC DESIGNS 347 

II. 2/60's Cotton Warp and 30's Cotton Weft. 
32's reed, 3 threads in a dent. 
90 shots per inch. 

III. 2/50's Cotton Warp and 20's Artificial Silk Weft. 
40's reed, 2 threads in a dent. 

80 shots per inch. 

IV. 2/72's Worsted Warp and 36's Worsted Weft. 
22's reed, 4 threads in a dent. 

84 shots per inch. 

211. Diamond Structure of Pattern.— As a basis of weave 
effects, this geometric form has been dealt with in Paragraph 
157. It has now to be considered as a basis of design composed 




Fig. 211. — Diamond Base in Mat Weaves. 

of various plans of intertexture. The practice of dividing the 
pattern area into equal or unequal sections by interlacing hues 
in a diamond relation may be utihzed, developing the ground 
and figured parts in different weave units, as in the combination 
of a fine or fast weave for the former, and a more open type 



348 DRESS, BLOUSE, AND COSTUME CLOTHS 

of weave for the latter. Dividing the design in this way, 
ordinary diamond forms — at equal distances apart, as in 
Fig. 211- — may be arranged in some simple weave such as 
4-and-4 mat, when either the 2-and-2 hopsack or the plain 




HB0iB::inn$3@MHHii^'^Mnii^^j^: ■inMOigiL 







FiG. 212. — Diamond Type in Plain, Mock Leno, 
AND Warp and Weft Effects. 



make would be applicable to the ground features. Obviously, 
the diamond shapes might be woven in reversed twills in the 
figuring and in the ground respectively. But, as a rule, for 
these styles, the weave for the diamond figures should be of 
a regular type, with a weave of a corresponding but closer 
structure, for the surface area of the pattern. 



GEOMETPdC DESIGNS 



349 



It is, however, in the employment and combination of 
correct weave elements that the more meritorious of these 
examples are obtained. This is enforced in the designs illus- 
trated in Figs. 212, 213, 214, and 215. These are typical of 
developing the style base ; (1) in open weaves, with the 




Fig. 213. — Diamond Type: Figured in the Weft. 



diamond units in a faster weave ; (2) in duphcating the 
diamond figuring ; (3) in combining diamond forms with other 
geometric figures, and in ornamenting the ground of the texture 
with a number of decorative details ; and (4) in intersecting 
diamond with lozenge forms. In each, as will be demon- 
strated, there are two primary characteristics, that of acquiring 



350 DRESS, BLOUSE, AND COSTUME CLOTHS 

a decided and varied pattern type, and that of acquiring 
diversity of textural surface as the result of assorting weave 
elements differing from each other in effect in the cloth. 

In Fig. 212 it is not so much the arrangement of the pattern 
base, which is of the ordinary variety, as the weaves used 
which form the instructive feature. They render an other- 
wise simple design scheme diversified in surface details, and in 
decorative quality. Developing the inner and smaller diamond, 
sections in mock leno, and surrounding these with plain weave, 




Fig. 214. 

imparts tone to the figuring, and produces a useful build of 
cloth. In addition, these weave units are in bold contrast 
with the diamond-shaped details in warp and weft, which 
define the larger and chief ingredients of the style. 

While both warp and weft intersections are used in expressing 
the pattern details and features in this example, in the next 
illustration. Fig. 213 (sectional plan), the weave units are so 
planned as to prevent the warp yarns from appearing for more 
than one intersection at a time on the face of the cloth. This 
is the principle of design applied in v/eaving alpaca and silk 
union fabrics, where the figuring is a resultant of the shuttling 
yarn. It restricts the weaving scheme, and involves the 



GEOMETRIC DESIGNS 



351 



textural features being obtained by changes in the order and 
in the length of the weft interlacings. Recognizing this 
factor, it becomes a problem of determining the requisite 
degree of accentuation to be given to each species of line and 




Fig. 215. — Diamond Base with Intersecting Details. 



element in the pattern structure. Studying the woven 
specimen, Fig. 214 shows how the observance of these data 
has enabled the weave types to be so used as to give freshness 
to each sort of ornamental work. The fine ground texture — 
usually plain or weft prunelle — ^is of the character for con- 
trasting with the form types developed in twill, small diamonds, 
and other intersections, and by floating the picks on the surface 



352 DRESS, BLOUSE, AND COS'PUME CLOTHS 

of the fabric, and limiting the intersections of the warp threads 
to single and detached units. 

In regard to the geometric forms in the design, the stronger 
and severer of these are the X-shaped figures, and for the 
purpose of lessening their prominence in the cloth as compared 
with the diamond figures, they are woven in 3^— weft twill, 
with the central spottings developed in a distinctive tone, by 
flushes of weft extending across as many as 12 threads of 
warp. Other decorative types, which are more clearly 
delineated, are composed of 7-and-l of weft twill, and of 
3 to 11 weft floats, as in the rectangular group of diamond 
details. The lines linking one type of pattern with another, 
and for ornamenting the ground-work, are woven in a small 
diamond plan of weave. 

Like principles of intertexture have been practised in 
the construction of the example in Fig. 215, where lozenge 
and diamond figurings interlace with a larger scheme of figuring 
expressed in 4-shaft weft twill. In this case, however, the 
ground weave is j~ warp twill, making a design adapted to 
manufactures in which the warp, in addition to the weft yarns, 
are employed in producing the surface features in the fabric. 
This designing practice is appHcable to dress textures con- 
sisting of cotton, Unen, or of mixed cotton and worsted yarns, 
and also to silk goods. The principal figuring lines are formed 
by floating the weft over five threads in succession, and binding 
them at the edges with plain interlacings for clearly defining 
their textural quality. As the pattern is constructed, there is 
a large diamond figure (marked in 0's) underneath the section 
marked in I's. 

Other species of weave ornamentation might be substituted 
for those employed, such as sateen for the bold twilhng, 
3-^ cord for the y- weft twill, and ^- twill as the ground cross- 
ing : in addition, the central parts of the larger figures might be 
decorated with plans of the diaper construction. 

As showing the method of using the diamond base in the 
formation of elongated figures, section A of Fig. 216 may be 



GEOMETRIC DESIGNS 



353 



examined. One of the lines of the lower diamond type is 
continued to form the opposite side of the upper diamond, 
so that the two units give a compound form of figure. This is 
developed in clear floats of warp and weft, and on a plain 
ground. If the figures were constructed in broader propor- 
tions, the twilled fines might be varied or vandyked with weave 




C D B A 

Fig, 216. — Striped Compound. 



details. But in the scale here shown, the worldng out of the 
plan, in one well-defined weave scheme, is more appropriate. 
As illustrated, it would produce a forceful striped design ; 
for adjoining the two sides of band A are the stripes in 8-and-8 
warp repp, and these are combined mth bands of plain 
intertexture, centrally decorated with the fancy twilled 
section C. By considering the effect of the following order 

23— (5264) 



354 DRESS, BLOUSE, AND COSTUME CLOTHS 

of colouring on the pattern, other technicalities in this 
arrangement and structure will be apparent — 

Warp : 1 double thread of light cotton or silk (a) { for 

1 „ „ fancy „ „ (6) ) 8 threads. 

11 threads of toned cotton or silk (c) 

10 „ „ „ id) 

11 „ „ „ (e) 

1 double thread of light cotton or silk (a) } for 8 
1 „ ,, fancy „ ,, (&) ) threads. 

48 threads of toned cotton (c). 
Weft : Toned cotton or silk [d). 



According to this order of colours, the figuring in D's, in 
band A, would be in tone c, and the figuring, in grey, in tone d. 
As to sections B, these would not be modified by the weft, 
and would consist of transverse lines of the light tint a, and 
of the fancy tint b. The twilled section c in I's would be 
woven in tone d, with the warp effects in tint a, while the plain 
weave ground in the two larger stripings would be in tones 
c and d and in a and d. Hence there are here several contrasts 
in colour as well as in design features resulting from the 
arrangement of the weaves constituting the figuring, and of 
the bands in rib, diagonal, and plain make respectively. It is 
a cast of pattern capable of some variation : thus the rib 
sections might be changed to twill, and the diagonal parts to 
a diaper crossing, with the method of colour diversified as to 
hue and tint, and as to order of warping. 

212. Lozenge-shajped Types. — Two illustrations are suppHed 
on this basis in Figs. 217 and 218. Fig. 217 is obviously a 
variety of elongated diamond pattern, being formed in 
" cutting " weave elements so as to be useful in simple schemes 
of colouring. Thus there is in the design the well delineated 
lozenge figure composed of flushes of warp, with its interior 
features consisting, in one section, of certain checked crossings, 
and, in the other section, of angled -3^ twill. 

Diversity of textural construction, with the development of 
a balanced decorative pattern, should be the prominent 




Fig. 217.— Lozenge Pattern Developed in ^a t 



3* TWILI, 



356 DRESS, BLOUSE, AND COSTUME CLOTHS 

characteristics of this type of design. Fig. 218 is suggestive 
of the method of modifying the basic structure, and of the 
technical practice in expressing the form units of which the 
style consists. This example is composed of two large lozenge 
figures, grouped on the " drop " principle. The outhnes of 
the figures are rendered distinct in tone by the compact floats 
of weft twill and sateen in which they are produced. With 
the colour of the weft yarn differing from that used in the 
warp, the sectional parts of the style in I's and in H's 
would be quite clearly emphasized in the woven manufacture. 
The manner in which the interior of the figures has been 
decorated with weave detail is illustrative of a special scheme 
of textile design. These details shade from clusters of diamond 
spots at the upper apex of the lozenge figure, to single separ- 
ated spots at the base of the figure. Other varieties of 
spotting, such as effective weave elements, might also be 
combined in this way. 

Three methods of producing the design (Fig. 218) in silk, 
worsted, and cotton, are suggested in the particulars specified 
below — 



(1) SUks. 


Warp : 


80 's 2 -fold light tint. 




Weft : 


30 's medium tint. 

120 threads and 100 picks per inch, 


(2) Worsted. 


Warp : 


2/60's Botany. 
25's reed 4 's. 




Weft: 


2/60's Botany. 
96 picks per inch. 


(3) Cotton. 


Warp : 


2/60's light tint. 
40 's reed 2's. 




Weft : 


30 's medium tone. 
80 picks per inch. 



213. Compound Geometric Types. — " Compound Weave " 
designs also include figured styles consisting of two or more 
types of geometric forms. Several examples wiU be analysed, 
especially such as are suggestive in the base of construction, 
and in the weave units combined. Taking, firstly, a com- 
pound lozenge and rectangular scheme of pattern — that 




Fig. 218. 
LozENQE Type Developed in Sateen and Spotted Effects. 



358 DRESS, BLOUSE, AND COSTUME CLOTHS 

illustrated in Fig. 219 — ^it is formed of areas of "2- twill, and 
of y- and 3-^ swansdown, with the diamond and rectangular 
figures set across each other. The complete pattern is so 
regular in plan of formation and in weave structure as to be 
useful in thick or fine yarns, and yet give, without the addition 
of colour, a neat and clear textural design. 

Secondly, the practice in combining serpentine work with 
star spotting and striped features is shown in Fig. 220. This 
is a more complex and diversified composition. The design 



•r • » • » • • 




@^ t3p&oB»6c am 



■am JRKP Qaposgio 



Fig. 219. — ^Simple Geometric Type in 4-shaft Weaves. 



elements are executed in weft repp plans. The style, as so 
formed, exemphfies the diversity of pattern producible in weft 
cord plans on a warp -twill surface. For developing the inter- 
lacing ^ar details, the ground adjacent to such is woven in 
plain rib, that is a weave which forcibly differs in effect from 
the 5-end sateen used in other portions of the striping between 
the zig-zag lines B, B'. Considering it is as weavable in one 
colour of warp and weft, the effects in H's would be in solid 
floats of the latter, the ground in fine warp twill, and the 
other sections, printed in H's, in sateen and plain rib. 
Assuming it, in the next place, to be produced in a light tone 
of warp and a deeper tone of weft, the weft features would be 



GEOMETRIC DESIGNS 



359 



more distinctly brought out in the fabric ; or, should it be 
coloured in the warp by some such method as that given 
below, the style would be further modified and enhanced — 



Warp 



Weft 



18 threads of light heliotrope cotton or silk (a). 
12 „ tinted „ „ (&)• 

18 „ light „ „ (a). 

A medium tone of heliotrope cotton or silk. 




Fig. 220. 
Geometric Type in Cord, Sateen, and Twilled Weaves. 

This looming arrangement would result in the repp figuring 
being expressed in the medium tone of colour with the edges 
of stripe A in tint b, and the ground features in the Hght tint. 




Fig. 221. — ^Inverted Geometric Style. 



GEOMETRIC DESIGNS 361 

The third example (Fig. 221) is based on the combination of 
inverted triangular figures and bi-sected parallelogram forms. 
There is, in this pattern, an order of weave grouping which is 
specially adapted to fine-set cotton, linen, and silk manu- 
factures, namely, plain and diamond makes, with zig-zag 
twilling. On this account the style is not applicable to woollen 
yarns, but the crossings combined make it suitable for giving 
diversity of textural style in cotton and silk goods. Thus it 
would give intermittent stripes in plain weave, sections in 
diamond effect, and sections in shaded, angled twill. Patterns 
of this formation are effective, whether produced in one or 
several colours. This is owing to the pronounced weave 
effects of which they consist, the character of the design being 
determined by the weaves applied, as well as by the geometric 
base employed. 

214. Combination of Transposed and Checked Pattern Bases.— 
The compound base of design construction, seen in Fig. 222, 
is representative of a class of diamond pattern developed in 
shaded twills. The repetitions of the design develop a checked 
character, with the addition of the spottings in B's— which 
are intended to be woven in extra picks of weft, and the method 
of their insertion will be considered in Chapter VIII. The 
design has been produced by outlining the features B, B', 
and working these out in twills shading from a 5-float of warp 
to a 5-float of weft, so that if the warp yarns should be a Ught 
colour and the weft yarns a toned colour, the edging of the 
figures would be in a toned shade, graduating to a light shade 
in the central portions of the figures. The areas of the 
pattern, intermediate between B and B', are rectangular in 
shape, but drawn in curved fines. Shading, in these sections, 
proceeds from a maximum weft element in the centre to a 
maximum warp element at the extremities, the twilled fines 
being made to agree with the formation of the star checkings. 
Sateen weaves might be similarly graduated, or, by enlarging 
the pattern to 192 threads and picks, warp cord, and other 
warp-face weaves might be used for the sections in grey, and 



362 DRESS, BLOUSE, AND COSTUME CLOTHS 

weft cords or weft-face weaves for the effects in D's. As 
illustrated, the design is weavable — 

(1) In 96 denier organzine silk warp and 

90 „ tram „ weft. 

180 tlireads and 170 picks per inch. 

(2) In 2/80's cotton warp and 60 's cotton weft — 

140 threads and 132 picks per inch. 

(3) In 2/80's worsted warp and weft — 

120 threads and 112 picks per inch. 

215. Circular and Geometric Forms. — While the scroll and 
circular types of figuring will come under consideration later, 
reference should be made to the design principles, in which 
circular and geometric forms are combined. Fig. 223 is 
typical of this style of decorative pattern work. It is primarily 
appUcable to union dress fabrics with a worsted warp and silk 
weft, the ground consisting of warp -cord, with the figuring in 
weft-cord, weft-diaper effect, and weft-sateen. 

This example is weU-diversified in weave arrangement, and, 
considering the limited number of threads and picks which it 
occupies, it is interesting in ornamentative structure. The 
figured types are arranged on the drop base, with the two 
principal ones opposing each other, and placed at equal 
distances apart. By colouring on various systems in the warp 
and weft, different styles of pattern development are acquired. 
In the first instance, assuming the warp to be 2/80's medium 
shade worsted, and the weft a Hght shade of silk, then the 
various parts of the figuring would be more or less defined in 
tone, according to the weave in which they are formed, with 
the ground of the texture woven in repp, and in the shade 
used in the warp yarn. Secrond, such designs are producible 
in cotton and silk, the combination of the weaves apphed 
being adapted to the manufacture of fine, thin textures. In 
preparing this looming plan, as also in those in Figs. 209 and 210, 
both the selection of the weave units, and the arrangement 
of the figuring are important technicalities. The weaves 
employed should not only combine satisfactorily, but make a 



GEOMETRIC DESIGNS 



363 



sound fabric and give suitable prominence to the component 
parts of the style. 

216. Design Construction on Weave Bases. — " Weave " bases, 
on which to construct designs composed of various weave units, 
are utihzed in the origination of simple figured patterns. 




Fig. 222. — Diamond Checked Style in Shaded Twills. 

They offer certain advantages— in the first place they form a 
known mathematical scheme of detail arrangement and dis- 
tribution ; in the second, if the weave units are, in themselves, 
effective plans, they result in well-balanced types of design. 
Moreover, such bases are capable of extension in several ways, 
as for example, in working out patterns composed of weaves 




Fig. 223. — Spotted Type with Warp-Cord Ground. 
{Section only, similar design base as Fig. 238.) 



GEOMETRIC DESIGNS 



365 



derived from the original base, and second, of weaves of an 
entirely distinct character, but necessarily grouped in agreement 
with the scheme of intersection in the original plan. 

The primary technicalities to consider are the structure of 



AXttHt 



A<^ 




A A 

Fig. 224. — Design Constructed on Weave Base. 

the weaves selected, and the several varieties of weave effects 
to be combined with each other in the different sections of the 
extended design, and which the intersections of the basic weaves 
represent. To make this clear, Fig. 224 — on 64 threads and 64 
picks — is a pattern which has been acquired on the interlacing 
plan shown at Fig. 224a. Each section in this weave is equal 
to 8 threads and 8 picks in Fig. 224. DupUcating this weave 



366 DRESS, BLOUSE, AND COSTUME CLOTHS 

gives the plan at Fig. 224b, which has been appHed to sections 
A in Fig. 224, corresponding to the H's in weave B, and 




Fig. 224a. 



weave A itself to the ground in Fig. 224, which further coincides 
in arrangement to the weft intersections in H's in plan B. 



• 


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• 










• 


• 










• 


• 


• 


• 


• 


• 










• 


• 










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• 


• 


• 






• 




• 


• 


• 


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Fig. 224b. 



This example is illustrative of the employment of one weave 
structure in producing the whole design scheme, that is, first, 
as the ground effect ; second, in its duphcated form, in defining 



ii":;::; ' afi^S:;af^B« 




Fig. 225. — ^Design Formed on Weave Base. — ^Plan 225c. 




Fig. 225c. 



IfaBa 




■uanBaa 
.-.■iiiaBna 

:>a»ii>Bua 

■aBi«jin»irfe:.szAs:aoBiSBso»v:: 






Pig. 226. 
Design Formed on Weave Base. — Plan 226d. 




Fig. 226d. 



GEOMETRIC DESIGNS 369 

the figured features ; and, third, as the basis of figure 
distribution. 

The second practice, in which different weaves are used in 
the development of the figuring other than those derived from 
the structural plan, is illustrated in Figs. 225 and 226. It wiU 
be seen, on comparing Fig. 225c with Fig. 225, and Fig. 226d 
with Fig. 226, how the weave plans have been followed in 
working out the compound designs. In the first of these 
examples, the sections in Fig. 225c are developed in weft 
Venetian in Fig. 225, the sections in H's in weft-sateen, and 
the sections in D's in warp-sateen, thus giving a pattern 
of an identical formation as that of the basic plan, and 
developed in warp, weft, and intermediate warp and weft 
effects. 

Considering Fig. 226d in relation to Fig. 226, the sections 
in I's in the former are developed, in the latter, in warp repp ; 
the sections in H's in weft cord ; and the ground or unmarked 
sections in plain weave. By changing the weft-repp to a 
weft-twill, this build of design would be suitable for a union 
fabric with cotton wai'p and alpaca or artificial silk weft, but, 
as arranged, it is intended for a texture in which the warp 
yarns would be the principal figuring factor. 

The study of the Weave Structures, illustrated in Chapter V, 
made it clear that plans of intersection are, in reahty, types 
of textural effect, that is distinctive but minute forms of 
pattern. This being so, the regular and special groups of 
plans — other than the standard twills and their derivatives — 
are adaptable, by the methods described, to the production of 
geometric styles of figuring, and should, in this relation, be 
more extensively apphed to the different classes of patternwork 
characteristic of the dress trade. 



24— (5264) 



CHAPTER VIII 

SPOTTED AND MOSAIC PATTERNS 

217. — Design Details. 218. — Structural Principles — Straight-Line 
Spottings. 219. — ^Variation in Line Proportions. 220. — Circular 
Spotting. 221. — Spotted Groiind with Plain or Decorative Figm-ing. 
222. — Point-Paper Production of Spotted Designs. 223. — Figuring 
in Spotted Minutiae. 224. — ^Weaving Principles in Producing Spotted 
Patterns. 225.— Warp, Weft, and Warp-and-Weft Principles. 226.— 
Lustre and Silk Weft Spotted Designing. 227. — Weft Spotting — 
Diversified Weave Grounds. 228. — Utility of Cross-Colourings. 229. — 
Mosaic Patterns in several Weave Units. 230. — Warp-Twill 
Ground adapted to Weft-Twill Spotting. 231. — Ribbed Ground and 
Warp and Weft Detail. 232. — Spotting in both Warp and Weft 
Intersections. 233. — ^Warp and Weft Spotting on Balanced Weave 
Grounds. 234. — Spotting of Warp and Weft Surfaces. 235. — ^Mosaic 
Patterns — Curvilinear Variety. 236. — Curvihnear Forms Spotted. 
237. — Curved Forms planned on Geometric Principles. 238. — " All- 
over " Design Schemes. 239. — ^Waved " All-over " Designs. 240. — 
Scroll-Surface Decoration. 241. — " All-over " Patterns Spotted. 
242. — Extra Warp Effects. 243. — Grouping of Spotting Threads. 
244. — Figuring in Two or Three Extra Yarns. 245. — Extra Weft 
Spotting. 246. — ^Weft Groimds and Extra- Yarn Spotting. 247. — 
Warp and Weft Orders of Colouring apphed to Decorative Pattern 
Construction. 248. — Compound Weave Spotting and Figuring. 249. — 
" All-over " Patterns developed in Double Weaves. 250. — Figured 
Pattern Origination by the use of Double Weaves and Orders of 
Warp and Weft Colouring. 251. — Spotting in the Backing Threads 
and Picks of Double Weaves. 

217. Design Details. — In blouse and dress-fabric manu- 
facture, spotted styles are largely produced in each sort 
of yarn unit, and also in textures composed of several classes 
and counts of warp and weft. The patterns comprise a 
diversified range of design types and detail, developed in various 
schemes of cloth construction and weaving. 

The decorative principles may first be analysed and illus- 
trated. Neatness of effect, clearness of detail definition, and 
simpHcity of style, are of paramount importance in aU varieties 
of this class of textile designing. The types of pattern-work 

370 



SPOTTED AND MOSAIC PATTERNS 371 

employed are suggestive of minute but severe forms of 
ornament, acquired (1) by the combination of straight, waved, 
and circular lines on geometric and weave bases ; (2) by the 
grouping, in mathematical relation, of rectangular, oval, 
crescent and other forms ; and (3) by the assortment of two 
or more figured motives on a selected basis of style arrangement. 

218. Structural Principles — Straight-Line Spottings. — In illus- 
tration of these structural principles of spotting, the sketches 
in Figs. 227 to 244, A, B, and C, are supplied. They are 
Japanese in idea and character, and are valuable here as 
presenting the methods of forming spotted types useful in the 
manufacture and design of light textures made of cotton, 
silk, worsted and other sorts of yarn. The elementary, straight- 
line effects in Figs. 227 to 232, differ in structure from the 
line patterns — striped and checked — which have been dealt- 
with. Whereas the latter are formed by the plan of inter- 
section or by the order of colouring in the warping and the 
wefting, in these examples the pattern units are the result of 
line grouping and arrangement, apart from the looming 
practice adopted. In their origination, it is a question of 
assorting and combining lines varying in thickness, length, 
and in plan of classification. Figs. 227, 228, and 229 exemplify 
these fundamental bases of pattern work. The first is the 
result of lines of equal length and breadth arranged at like 
distances apart, a form of spotted detail variable by the 
dimensions and thickness of the fines, and also by the spaces 
intervening their repetition in the cloth. The second, which 
is a checked type, being composed of three parallel fines in 
square sections alternating with ground spaces, may be 
similarly modified in technical practice. Fig. 229 consists of 
fines differing in measurement, so planned and distributed as 
to develop a waved species ot design. 

219. Variation in Line Proportions. — Lines dissimilar in 
thickness and length are combined in the origination of 
diaper, diamond, and other varieties of elementary figured 
effects, with a spotted design composition. The diaper 




Fig. 227. 



I III III III III III III III 

111^ III III III III III III III 
I III III III III III III 111 

iir III III III III III * III HI 



III III 



III III 



Fm. 228. 




Fig. 229. 
Straight-line Spottings. 



11 II M M II II II II II 



II II II 



II II II II 



II II II II II II M 11 



11 .11 II II M II Ih ir II 



M II II II 



II II II ^11 11 



II II II II 11 II 11 II 



II II II II 11 



11 11 II 11 II II 



m >tt^yf^"^tT"^tT" 



II II II II II II II 



II II II II II II 



Fig. 230. 



II : II -.11.-11: II: II: II: II 



: II : II : II : II 
II : II -' II : 11 -• 
:Hll|:ll:|l 
11 -.11 : 11 = 1' - 



:ii:|V-ll: 
-^lMl;il: 



:||:l|:il 
II: II Ml: 



ri:.l|:||--|l 



Fig. 231. 



• • • 


• • 


■• m 


• 


• • • 


• 


• 


• • 


]DnDD 

• • • ' * * 


DD 


D 


ilU\l 


D 


D 


DD 


D no 

• • • i' 


DD 


D D 


D 


DDDD 


D 


BU 


H.M 


nil 

• 


DDD 


\lJlil 


D 


D 


nil 


\l\lil 


- • m 


DO 

• • 


D 

• 


DDD 

• • • 


DD 

• • 


DD 

• • 



A A A A 



Fig. 232. 
Stbaight-une Spottings. 



374 DRESS, BLOUSE, AND COSTUME CLOTHS 

arrangement is seen at Fig. 230, where four small details are 
linked with pairs of vertical and transverse parallel lines. 
For varying this principle, the size of the corner checkings is 
changed, and the method and order of grouping the spots in 
the checking units are altered, inserting, as desired, sets of 
three, four, etc., parallel and connecting lines. Combining 
lines of tAvo sizes and in pairs, and setting these across each 
other, yields a species of basket work as seen in Fig. 231, 
again variable by the numerical order of the line details, but 
retaining the system of intersecting them at right angles. 
Triangular, and other sectional line motives, arranged on some 
common basis as in Fig. 232, are used in this class of spotting. 
In the example, the textural effect is rendered interesting by 
the insertion of circle details between the repeats of the 
transposed triangular shapes. This scheme of design is 
adaptable to striped styles by running several sections together 
comparatively closely grouped with each other, and following 
with a number of sections in which the units of effect are 
differently spaced : or plain ground sections may be made to 
intervene stripes of spotting consisting of any suitable number 
of the effects A. 

220. Circular Spotting. — Circular and beadlike spotted 
designs are obtainable on various bases — ^two common and 
effective systems of construction being shown at Figs. 233 and 
234. In the former, the larger spots are first grouped and 
then the small ones added, varying their diameters and 
number with the fineness of the texture, and the clearnes 
with which the effects are definable in the counts and sorts 
of yarn employed. Half-moon, crescent, and other segment 
forms are combined, which may be run in a twiUed order — - 
Fig. 234 — or arranged on some such basis as illustrated in 
Figs. 230, 231, and 232. Combining two or more spotted 
types — each the result of several varieties of effect, and with 
the spotting base sateen, and emphasized or otherwise by 
increasing or lessening of the ground area — ^is a common 
practice in this class of designing. Alluding to Figs. 235 to 



SPOTTED AND MOSAIC PATTERNS 375 

238, they are apparently diversified forms of the line and cir- 
cular pattern types described. Fig. 235 is formed of inter- 
secting lines, maldng the star features of transposed diagonal 
lines, and of circular details. It makes a diamond type of 




Fig. 233. 



00 0000 0,0^0 000 0.0 
0000000 o 0^0,0,0.0.0^ 
roo^^Vov. 0,0,0, o,.o,o..o,.o 



Fig. 234. 
Circular Forms of Spotting. 

spotted pattern. A striped style of effect is shown at Fig. 
236, comprising the elements B in lines, and the effects A in 
small inverted fan shapes. Spotting forms, with the basic 
features constructed in circles, are illustrated in Fig. 237. On 
this principle the outMnes may be devised on a geometric base, 
and the spotting lines or features may be alternately set 
across, as well as produced in Unes differing in dimensions. 




Fig. 235. 



BBBBBBBB 



:;!'':i:'i:'*;:':;^-':;:'^: 'i;^'! '^■;:'::^';;:'-:-;; 



^*l,l'.IMl^•^h|^••^|^^•x•'1|l••^Il'l|•^•l||'•x•l•'^^^'" 



.l-i- .1. '*'!. .IV.I. 






Fig. 236. 



:ciixiixii:vii:<nxii>:ii:-:iiviivii::iiviivirvi4 



ii>:ii:vii:%iiAii:%ii:<n>:iixiixii:<iiviiKiixii>: 



XIIXIIXIIXIIXIIAIIXIIXIIV||V||V||V||V|(V|| 



• •••••'••• ••• •''•■■•■•': m- % -•,9 • a.^ • : •- • • • • • I 

IXIIXIIKIIXIIAIIAIIKIIKIIKIIXIIXIIXIIKIIKII 



:iiHiivii:<ii:-:iiX"AMA">:i«Ai«:<"Ai^>:«^>y 

• • • • • • • • • • - :• * •>''•>•'• • a • • • • ' • • -• » • • < 

aiixiixii:-:ii:%iiX"a">:ii:vi»a"ai«>:^ 
iixiixiiAiixifeiiXiirviixiixiixiix" 



Fig. 237. 
Line- and Circular-spotted Types. 




Fig. 238. 



mi (M>im (0nm mm\ 



Fig. 239. 




Fig. 240. 
BosBTTE, Line, and Diamond Forms op Spotting. 



378 DRESS, BLOUSE, AND COSTUME CLOTHS 

The pattern scheme shown at Fig, 238 has been acquired, 
by first sketching and grouping the effects in broader and 
in finer straight lines, and secondly, by adding the lesser 
rosette forms, with their elemental sections more pronounced 
than in the additional series of these forms. Combining 
triangular and quadrilateral motives, and spacing them in 
identical relation with each other, and then by joining these 
results, the spotted type of design seen in Fig. 239 is obtained. 
Here the central figures are planned on a checked base, so 
that the triangular elements interchange in position with the 
decorative units consisting of small conventional floral forms. 
In Fig. 240 an example is seen of the severer and set 
variety of spotting. Strictly, it is a lozenge pattern with 
vandyked cross-shaped figuring in contrast with elongated 
diamond forms developed in parallel lines, and also in 
contrast with the divisional hnes making the basic plan of 
the style. 

221. Spotted Ground with Plain or Decorative Figuring. — ^In 
the examples examined the groundwork has been plain, but 
in Figs. 241 and 242 it is of a spotted nature. In both these 
illustrations the ground sections consist of bird's-eye spotting, 
but in Fig. 241 T-shaped forms, and cross and rectangular 
details are combined ; and in Fig. 242 small stars in pairs 
and in single units are distributed on a spotted surface. 
Further, in the first of these designs the figuring is worked 
in plain patches ; while, in the second example, the figuring 
is due to insertion. Both are suggestive of standardized 
practices in spotted and mosaic designing, but the second 
principle gives the more varied type of structure in the woven 
fabric. 

222. Point-Paper Production of Spotted Designs. — As showing 
the systems of looming feasible in the production of the 
different groups of spotted and detail patterns illustrated, 
and the weave units adaptable in transferring the sketches 
on to point-paper, examples in constructive data for Figs. 227 
to 242 are given in Table XI— 



TABLE XI 
Methods of Plan Making Applicable to Spotted Styles 



Weave Structure and Composition. 



Point-Paper 
Design. 



a) Plain weave ground with line details in ^3. and 
j-l- warp and weft twills .... 

6) Sateen ground, with lines in weft twill 

Similar to Fig. 227, also in prunella twill ground 
and in ^i twill for line streaking or spotting . 

a) Stronger lines in j^ sateen, finer lines in j-^ twill 

with plain ground ..... 

b) Stronger lines in j't warp twill, finer lines in ^^ 

weft twill, plain gromid .... 

Similar to Figs. 227 and 229. 

Transverse lines in weft twill, vertical lines in 
warp twUl, plain ground .... 

a) Triangular forms in weft twill, and circular spots 

in sateen, with plain ground 
6) Circular spots in plain, triangular spots in 3^- 

broken Uvill, ground in ^'-i warp twill 
a) Small spots in weft floats, larger spots in weft 

sateen, ground plain ..... 
h) 5-shaft warp sateen grovind, small spots in weft 

floats, larger spots in weft twill 
a) Warp sateen ground, weft sateen or twill spotting 
6) Plain ground, weft float spotting 

Intersecting diagonal Imes in warp floats, circular 

spots in weft floats, star effects in weft sateen, 

ground plain ...... 

a) Plain ground, line effects in ^^ weft twill, detail 

figui'ing in sateen ..... 

6) Warp prvmelle twill ground, line effects in weft 

prunelle, detail features in weft twills angled 

from the edges of the spottings 
a) Plam ground, circular spots in warp, vertical 

lines in ji weft twill ..... 
6) Sateen ground, circular spots in weft floats, 

vertical lines in weft sateens. 

a) Thicker lines in weft twill, finer lines in plain, floral 

forms in weft effect, ground in -^3- broken twill 

b) Ground warp rib. finer lines in warp twill, thicker 

lines in weft twill, floral forms in adapted weave 
units ........ 

Triangular sections in twilled lines, following the 
direction of the pattern forms ; circular fea- 
tures in sateen, with interior spots in weft 
floats ; floral details in special weaves, plain 
ground. 

(o) Parallel lines in warp twOl, basis lines in weft 
twill, diamond spotting in sateen, plain ground 

(6) Warp sateen gromid, parallel lines in weft twill, 
basic lines in fuie warp repp, stars in weft sateen. 

(a) Plain ground, spotting in floats of warp, figuring 
in weft sateen. 

(6) For a double-plain make texture, colouring 1-and- 
1, ground and figuring being developed in one 
shade, and spotting in a second shade. 



24 X 24, or 

32 X 32 

30 X 30, or 

60 X 60 

48 X 48 

64 X 64 

96 X 96 

24 X 24 

32 X 32, or 

48 X 48 

48 X 48, or 

64 X 64 

ditto 

96 X 96 

100 X 100 

48 X 48 

64 X 64 



64 X 64 

72 X 72 

96 X 96 

64 X 64 

96 X 96 

96 X 96, or 

192 X 192 



64 X 64, or 

72 X 72 



The sketches 
to be adapted 
to d e s ig n P 
formable o n 
192 X 192 



380 DRESS, BLOUSE, AND COSTUME CLOTHS 

From these data, it is clear : (1) that the weaving practice 
may be adapted to the manufacture of fabrics in which the 
design is a product of the weft, warp, or both the warp and 
weft yarns ; and (2) that it may be made to impart freshness 
and diversity of character to the simpler as to the more varied 



::::::::: ::::::: ••.•••••••::::::: :::::::••::: . 

•••••••••••:••••» ••••••••••••• ••••••••••••••••••••^ 

'••••••••••••••••a •••••• •••••••••••••••••• 

•••••••••••• •••••••••••••••_ ••••••••• •, 

••••••••••••••••••••••••' ••••••••••••••••••• ••••••• «, 

• •••• "••••••••••••••••••••••<»*»o«s««*«»***** <*»«^««« *, 

••••• ••••••••••••••••••••••••••••••••••_ ••••• •< 

•••••••••• •••••• ••••••••••••••••',•••••••••••• •• •< 

• ••••••••• •••••••*••••••••••••••''•••••••• ••••:•••) 

•••••• - •••••■•••••••• ••••••••*•••••••••••• 

-•••••••• ••••••••••••••••••••••••••••••• *•••••••••• 

•••••••••• ••••••••••••••••••••••••••••••• «••••••••••• 

•••••••••••••••••••••• •••••• ••••••••••••••••••••• 

*•••••••••••••••' ••••- ••■••'. .•••••••■^'••« "•' 

•••• ••«••••••«••••••• •••••••••• •••• •••••••••••« •< 

»«•• ••••••••••••••••••••••••••••••••••• 

•• •••••••••••*•••••••••: •••••••• 

•••••••••••••••••••••••• •••••••' 

••••••^••••••••••••••••• ••••••• '- 



Fig. 241. 



[HmnTTTTm 






■Hi 



•••••••••••••• ••••jlj* ••••••••••••• ••••«»,,_,, 






I I H 









mmm 






immm i 






wsmm 



Fig. 242. 
Patterns with a Spotted Ground. 

descriptions of spotting. Printing the design on the goods 
leaves the decorative type in the same textural effect as the 
ground, whereas the process of weaving them into the fabric, 
enables the hne features, and each kind of pattern detail, 
to be developed in a different species of woven surface. 

223. Figuring in Spotted Minutiae. — ^It should, however, be 
noted that spotted goods, in which the figuring consists of 



SPOTTED AND MOSAIC PATTERNS 



381 



decorative details, are extensively acquired by printing. 
Many styles of this class of ornamentation are therefore 
appHed to the cloths, after weaving, as in blouse and dress 
materials, and in silk foulards, etc. Styles of pattern 
specially suitable for this treatment are shown in Figs. 243, 




Fig. 243. 




Fig. 244. 
Decorative Styi^s in Spotted Minutiae. 

244, and 244a, b, and c. However fine the counts of the 
yarn employed, and closely set a texture may be woven, these 
extreme minutiae in decorative composition and planning are 
more accurately reproduced by the art of printing than by 
the art of warp and weft intersection. But such examples 
are not on that account to be assumed as wanting in textural 
suggestiveness and interest. They are valuable as pattern 



' VV* •.••%••* t\\ 



^A>^ ::»• 



Fig.'^244a. 




Fig. 244b. 




Fig. 244c. 
Decorative Styles in Spotted Minutiae. 



SPOTTED AND MOSAIC PATTERNS 383 

schemes in which the figured features are formed in dots, 
specks, streaks, and other small effects, and in which the form 
structures are delineated without contrasts due to line emphasis 
and demarcation, or contrasts due to tone shading. Further, 
they are also useful as schemes of design construction applic- 
able, in a correct scale, and when simphfied in detail arrange- 
ment, to point-paper draughting. Thus, in Figs. 243, 244, 
and 244a, b, and c, the varied fiUgree ornamentation they 
comprise is transferable into textile productions by working 
out the looming designs on the lines indicated below — 

Fig. 243. — ^Weft Figuring, Cotton Wabp, and Silk or 
Lustre Yarn Weft 

Size of design 192 X 192. — Developing the small floral patterns in 
weft-face twills, agreeing in direction with the form features, and the 
filigree effects in circular spots in solid floats of weft, with a plain 
make for the groiind of the fabric. 

Figs. 244, 244a, b, and c. — Silk Warp and Weft 
Similar types of pattern to these examples are producible in a 300 or a 
400 Jacquard machine, with the designs in two tints of weft yarn, 
shuttled pick and pick, and using one weft in developing the smaller, 
and the second weft in developing the more pronovmced details — each 
weft floating solid for figuring, and intersecting in regular order with 
the warp for producing the ground. 

It will be understood that the methods of looming described 
in Table XI for Figs. 227 to 242 inclusive, require to be varied 
with the quaUty and counts of the yarn employed. While 
therefore the instructions, tabulated for working out the 
patterns on point paper, would result in correct schemes of 
textural design, in the application of such data to the fabric 
they are necessarily modified by the nature and class of the 
goods manufactured. 

224. Weaving Principles in Producing Spotted Patterns. — 
The principles of intertexture appHed in producing spotted 
and mosaic styles of pattern include looming practices in 
which the effects are obtained — 

(a) In the weft. 

(6) In the warp. 



384 DRESS, BLOUSE, AND COSTUME CLOTHS 



(c) In the warp and weft. 

{d) In extra or supplementary weft yarns. 

(e) In extra or supplementary warp yarns. 

(/) In both supplementary warp and weft yarns. 

{g) By colour arrangement in single and compound-fabric 
structures. 

These may be studied and dissected under the serial groups 
of fabrics and design types described in Table XII — 

TABLE XII 

Vabieties of Spotting and Mosaic Pattern 
Designing 



Classes. 



Methods of Spotting. 



Manufacturing Practices. 



Warp weave ground, weft 
spotted or weft pattern 
development. 



Weft weave ground, warp 
spotted or warp pattern 
devolopment. 

Plain or twill ground, weft, 
warp, or both warp and 
weft spotted. 

Extra or supplementary- 
weft spotting. 

Extra warp spotting 

Extra or supplementary 
warp and weft spotting. 

Single simple-make fabrics, 
with the spotting devel- 
oped by weave and colour 
assortment. 

Compound-make fabrics, 
with the spotting devel- 
oped by weave and colour 
assortment. 

Compound - make fabrics, 
spotted with extra yarns. 



Worsted, cotton, or silk warp with 
similar yarns for weft, e.g. cotton 
warp crossed with silk, or worsted 
warp crossed with mohair or silk 
alpaca, etc. 

Cotton warp in ground, with special 
warp threads inserted for spotted 
sections, and with lustre worsted, 
alpaca, etc., for weft. 

Cotton, sUk, worsted, or linen warp 
and weft, or cotton warp crossed 
with different counts and quality 
of weft. 

Applied in different varieties of single- 
make dress and blouse textures, 
ditto ditto 

ditto ditto 

Applied in cotton, silk, linen, worsted 
or woollen fabric construction. 



ditto 



ditto 



ditto 



ditto 



225. Warjp, Weft, and Warp-and-Weft Principles. — These 
principles of design are suggested in Figs. 245, 246, 247, and 
248. Employing warp-face weaves (e.g. sateen or twiU) for 
the ground, as in Fig. 245, provides for detail pattern produc- 
tion by floating the picks of weft in any regular order in the 



SPOTTED AND MOSAIC PATTERNS 



385 





spotted sections ; while for developing the effects in warp 
threads, the ground weave is changed to a weft-face plan, 
and the spottings are formed in warp floats as in Mg. 246. 
If the two schemes 

are combined, the U s — rp. 

ground plan should 
be of a plain weave, 
simple twill, or of a 
mat character, that 
is a weave which 
floats the warp and 
weft evenly and 
equally on both 
sides of the texture. 
In using the plain 
make for ground 
purposes, the spot- 
tings are acquired on 
the basis of construc- 
tion seen at Fig. 247, 
and in employing 
the 2"^ twill in the 
ground the spottings 
are formed as indi- 
cated in Fig. 248. 
In both these illus- 
trations the warp 
ingredients are 
printed in K's and 
the weft ingredients 
in I's and in H's. 

226. Lustre and 
Silk Weft Spotted 
Designing . — The 
weft scheme of 
spotted pattern 

25— (5264) 



Fig. 245. 



D's and l^'s 


= Warp. 




• 1 ••••• ••• 


• ••••• ••••• 


{••••• •••• 




•••SSS***** 


••••• ••••• • 


• • ^^&s • • • • 




* * A&^u* * * * 




• • q5S • • • • • 




• ••••• ••• 


• ••••• ••••• 


••••• •••• 


^••••* ••••• 


••••• ••• ^s 


X**** ••£•• • 


• • • • • • • S&A 


x««« ••••• •• 


• • • • • • • XXg 


••• ••••• ••• 


• • • • • • • ^22 




• ••••• ••• 


• ••••• •#••• 


• • * • • • * Lt 


***** *** sss 


«•••• ••••• 


***** *** ShSS 


•••• ••••• 


• • • • • • • * sSg'*^ 




L** •!••• aSS* 


•• ••••« •• 


•• ••••• •••• 


• ••••• ••• 


• ••••• •••••_ 


••••• •••• 




••••« ••••• 


* • •Wp$$^* • • • • 


•••• ••••• 


• • • IXIViyDQ* !• •! • * 






•• ••••• •• 



Fig. 246. 
Weft and Warp Spotted Plans. 



□'s and ^'s = Warp. 



^_ — _ — — £■ — — — — — — — — — — tSfiS^H' 

~ T ~ 7 ~ 7 ~ 7 ~ • ~ • ~ • ~ • ~ • ~ _• §pL 



[Fig. 247. 



's and ^'s = Warp. 



i 



m 



m 






HSfijli 



m 




Fig. 248. 

Warp, Weft, and Warp- and -Weft 
Spotted Plans. 



SPOTTED AND MOSAIC PATTERNS 387 

origination is, in the first place, appKed to lustre or silk 
weft and cotton warp textures, and also to pure cotton 
goods. The designs have almost invariably a plain ground, 
which provides for the pattern features being woven in 
different weave structures. Fig. 249 is a typical Jacquard 
style, and consists of a series of decorative elements in 
-3^ twill, and of a second series in 7-^ twill. Variety of 
effect in the cloth is obtained by the two types of weave used 
in relation to the distinctive forms of spotting of which the 
design is composed. As prominence is given to the weft yarn 
in such plan-making, the build of the texture as well as the 
pattern scheme, develop satisfactorily in manufactures of the 
glace quality, and also in cotton zephyrs. In originating 
such styles of pattern, the first work should be to devise and 
group the principal spottings selected, combining those which 
harmonize in structural form ; and, second, the arrangement 
and distribution of the figures should be determined, two 
factors which are affected by the relative dimensions of the 
several motives employed. 

227. Weft Spotting — Diversified Weave Grounds. — In the 
next place, for more varied classes of fabrication, different 
kinds of ground weaves are used, particularly such as agree 
with the style of spotted figuring and the make of fabric 
required. One object of this constructive principle is to 
employ a warp yarn which, in quahty and tint, may be made 
to contrast with the pattern features expressed in the weft 
yarn. Whether the warp appears in the figuring or simply 
in the ground, it is thus rendered effective in imparting tone 
to the style. Two examples are given in Figs. 250 and 251, 
in which the warp is not a decorative unit, being concealed 
in the spottings by the picks of weft, but in the third example, 
Fig. 252, the warp assists in dehneating the design form. 

In Fig. 250, the spotted features are severe in tone and 
character ; but the weaves combined are of such a formation 
that whether the design is produced in cotton, silk, worsted 
or woollen yarns, it yields a neat, level cloth, and also one 




Fig. 249. — Weft Spotting on a Plain Ground 
Zephyr or Lustre. 



SPOTTED AND MOSAIC PATTERNS S89 

diversified in constructive detail. Of the several methods 
of producing this style in the woven manufacture, three may 
be described. Considered in relation to cottons or silks, it 
is weavable, in the first instance, in one colour of warp and 
weft ; and, in the second place, by the insertion of fancy 
threads into the warp and by the use of a contrasting colour 
of weft yarn, or on the following lines — 

Warp. 

4 threads of a light shade cotton (2/50's) or silk (50's/2). 
40 „ ,, very light ,, „ ,, „ 

4 ,, „ Ught shade „ „ ,, ,, 

Weft. 
A third shade (25's cotton, spmi silk or art. silk) contrasting 
equally in depth of tone, and in hue, with the two shades in the warp. 

The result of this order of colouring would be to give the 
star figures in a distinct shade, namely, that of the weft ; the 
light threads in the warp would stripe the edging of the 
spottings, and the very light shade would form the ground or 
circular shape in which the star features occur. 

Third, a design of this regular construction is also weavable 
in worsted and woollen yarns. For the former, two practices 
in manufacture might be adopted — 

(1) Warp arid Weft. 
2/60's worsted light shade. 

,, ,, medium shade. 

64 threads and 60 picks per inch. 

(2) Warp and Weft. 

1 thread of 2/72 's worsted mixture. 

1 „ „ „ „ „ darker tone. 

78 threads and 74 picks per inch. 

If applied to woollen costume cloths, the yarns should be 
about 32 skeins with a lighter shade in the warp than that 
used in the weft, and with 36 threads and 34 picks per inch. 

Analysing Fig. 251, the larger star spottings are centrally 
placed, one opposite the other. The grouping of the two 
sorts of motive combined, is on the 6-end sateen base, hence 
the balance of figure distribution here observed. The design 




Fig. 250. — Pattern Development in 4-Shaft Weaves. 




Fig. 251. 
Star Spotting in 8-Shaft Sateen on a Mottled Ground. 



SPOTTED AND MOSAIC PATTERNS 



391 



features are developed in weft sateen, but the two central 
spottings might also be woven in weft twill. The ground is 
a derivative of the 8-shaft sateen due to extending it to 16 
threads and picks. It fits correctly with the weft sateen 
applied to the figured details. The ordinary warp sateen 
would give the necessary levelness of fabric surface, and 
definition of pattern, but it would be less efficient in textural 
effect as compared with this plan, the small weft spots in 
which add to the tone of the ground work of the fabric. 

228. Utility of Cross-Coloiiriiigs. — The utility of the warp 
yarn in giving design characteristics — ^in addition to the 




Fig. 252. — Floated Weft Spotting. 

features due to the figuring in these two specimens, Figs. 
250 and 251 — will be understood by assuming the warp to 
be a light tint, and the weft a deeper colour. For either 
cottons or siU^s, this degree of contrast of shade in warp and 
weft is an advantage, as it defines the figuring and lends 
clearness to the detail in the different parts of the design. 
Still, for certain cotton and worsted textures, the soft quahty 
of figured expression which results when only one shade of 
yarn is used, is a desirable characteristic of the fabric. 
Especially is this the case in worsteds, where the finishing 
routine develops the constructive features of designs in which 
there is a diversity of warp and weft effects ; as, for example, 
in the warp-twill ground in Fig. 250, and in the fancy sateen 



392 DRESS, BLOUSE, AND COSTUME CLOTHS 

ground in Fig. 251, both of which would possess a distinct 
tone in the finished cloth from the pattern elements composed 
of the weft yarn. When a contrast in the materials of which 
the yarn consist is also allowed, the respective details of the 
style are further enhanced. Thus, supposing the warp to be 
fine worsted and the weft mohair or silk, then the ground of 
the texture would be in a dull, and the figuring in a lustrous, 
quality of yarn. Another practice, in the lighter varieties of 



Fig. 252a. 

fabric, is to employ a cotton or linen warp, and cross with a 
silk or artificial silk weft. 

Spotted types are also made on fast woven grounds in 
which special design sections are developed in the threads 
of the warp. Taking a simple illustration, that in Fig. 252, 
it is formed of weft cord and intersecting diagonal lines in 
floats of warp, with the spottings in loose flushes of weft. 
As the latter are unknitted into the cloth, they show promin- 
ently on the surface, protruding in minute patches as observed 
in the woven specimen. Fig. 252a. Such designs should be 
firmly set in the warp, but less closely wefted, allowing for 



SPOTTED AND MOSAIC PATTERNS 393 

the production of a firm, fast structure, with the employment 
of a thicker counts of weft than warp yarn, and a smaller 
number of picks than threads per inch. The specimen has 
been produced in 2/60's mercerized cotton warp and 15's 
weft, having 130 threads and 52 shots per inch. For 
emphasizing the spotted lines, the picks — 1, 2, 3, and 24, and 
12, 13, 14, and 15 — ^forming these should be in silk. 

229. Mosaic Patterns in Several Weave Units. — • 
Theoretically, designs constructed for developing the effects 
in the weft, when inverted are usable for developing such 
effects in the warp. This practice in designing is applicable 
to styles of pattern due to combining warp and weft face 
weaves, one weave applied to the ground, and the second 
weave to the figured or spotted sections. Examples thus 
constructed are given at Figs. 253 and 254, with a third 
example — Fig. 255 — ^in which the ground is warp rib, and in 
which the detail effects are in graduated weft cords. They 
are illustrative of different systems of pattern construction, 
and will be separately examined. 

Fig. 253 is a compound of star and festoon spotting, the 
latter features being linked with each other by details in 
plain weave. Should the design be apphed as illustrated, 
the figuring would be in weft, but should the order of looming 
preparation be reversed, that is, D's taken as weft, and the 
El's taken as warp intersections, it would give the pattern 
types in warp, and the ground of the texture in weft twill. 
Various practices in textural development are feasible in the 
weaving of designs of this class. In the first instance, they 
are made in piece-dye cloths ; in the second, in fabrics in 
which the warp and weft yarns differ in colour ; and, in the 
third instance, the standard orders of warping and wefting 
apphed to the prunelle twill are suitable, such as the 2-and-l, 
and the 1, 1-and-l, both of which would develop the ground 
in lines of colour. 

230. Warp-Twill Ground adapted to Weft-Twill Spotting. — 
Fig. 254 is producible, like Fig. 253, either as a warp or as a 




Lift O's and ■'«. 
Fig. 253. — ^^Veft Prunelle Pattern : Lozenge Base. 



SPOTTED AND MOSAIC PATTEMNS 



395 



weft-spotted style. An advantage, in developing the effects in 
the weft, is the readiness with which the colour quahty of the 



if'an.ia 



KiU 



Ti-nHirTT:» 



■SHh- 



ii"! iian ipnai- 



^^^'■B IB 






Ik ■. ■•■: •> ■:'■•■*,■■*'.: 
^.-■■■' ■■■ - •■■::rfaBra 
■J •••:'■■■. ■•■('•■■.':pa 
;:■■■■■■'■ ■«-:■■■:■■■ 



■ ■■::aaa:;Kaa::aaai:a ■■"•■■'.:• aa 
aaa::a&pi: aaar aaintCt !aa_ a; 



ipaaaraaa ;;aaB: a 
2 |ML:!"L ■■■L!! 



::aaa::»S c-aaS: . ll iOEXaaa -a 
aaaLaaac: aain: l JjiU_Bn_Ba aa 




Pig. 254 {Section only). 

Spotting in Special Weaves on a Warp-Twill Ground : 

Drop Base. 

texture may be changed. If, however, the object is a piece-dye 
manufacture, then the warp principle of deUneating the 
figured types might be selected. The two characteristics of 
this style — ^Fig. 254 — are the adaptation of the weave structure 



396 DRESS, BLOUSE, AND COSTUME CLOTHS 

to the lines of the lozenge shapes, and the unity of pattern 
detail derived by linking these shapes together by the 
parallelogram forms in weft twill. The design, as printed, 
has a warp ground, with the figures in weaves of a weft-flush 
character. The upright twills combined, following the outlines 
of the figuring, yield diamond spots decreasing in size from the 
outside to the inside of the figure. For varying the ground, 
two systems of work may be followed — first, it may be 




Fig. 255. 
Warp- AND -Weft Cord Spotted Effect : Diamond Base. 



coloured 2-and-2 in the warp and weft, giving line stripings ; 
and, second, small weft spots arranged on a sateen or similar 
base, may be inserted on the principle defined in reference 
to Fig. 251. Assuming the first practice to be adopted, and 
the colours to be blue and white, a texture would be produced 
in which the groundwork would consist of lines in these two 
colours, while the rhomboidal spottings would be woven in 
transverse lines, and the lozenge spottings defined in inter- 
mingled colouring. The use of simple weave units, as indicated 
in regard to Fig. 253, renders the standard orders of warping 
and wefting applicable to such weaves, adapted to both the 



SPOTTED AND MOSAIC PATTERNS 397 

ground and figured portions of these designs, with the use of 
either woollen or worsted yarns. Hence this illustration — 
Fig. 254 — may be appropriately coloured 2-and-2, 1-and-l, 
and 2- 1-and-l. In the case of the first arrangement, it 
would cause the ground to be developed in vertical, and the 
small rhomboidal forms in transverse lines in the two shades 
of yarn employed, with the lozenge spottings in a melange 
tone of colour. A subdued quality of figured expression is 
thus acquired with the ground in hne striping. Should the 
J- twill be modified by the insertion of specks of weft arranged 
on a 24-end sateen base, it would give the figuring, when 
woven in one colour of warp, and in a second colour of weft, 
clearly outlined, and the ground in a decorative warp twill. 
Applying the example to cotton and linen goods, should 
the y- twill be changed to the plain weave or warp rib, a 
coloured striping might be run underneath the figuring, on 
some such plan as shown below — 

Warps. 
I. "White . 
Lavender 

II. Fawn 
White . 

Wefts. 
For the first order of warping, to be rose colour, and for the second 
order, light blue, or French grey. 

By using these wefts, the pattern resulting from the former 
colouring, would be a shaded striping, on which the spotted 
figuring would be distributed in the rose colour, but that 
resulting from the second order would consist of definite 
bands of colour in white and fawn, with the figuring in light 
blue. 

231. Ribbed Ground and Warp and Weft Detail. — The repp 
or ribbed ground is particularly suitable for firmly-set fabrics 
in which the decorative details are developed in the weft or 
in the warp yarn. If the weft should be employed for spotting, 
then the designs may be constructed on the system seen at 



8 


12 


16 


12 


8 


8 


8 


8 


8 


8 


10 


10 


4 






4 


10 


10 







398 DRESS, BLOUSE, AND COSTUME CLOTHS 

Fig. 255. But should the warp be used for this purpose, 
and a similar type of spotted effect be intended, the designs 
would be changed to a weft rib in the ground with warp cords 
in the figured sections. For the first of these methods of 
construction, the example is weavable in 2/80's cotton or 80's 
two-fold silk with 36's weft, and mth 96 threads and 80 picks 
per inch, and in proportionate settings with the increase or 
decrease in the counts of the yarn applied. The design, as 
illustrated, admits of the use of a thicker and distinct Idnd of 
yarn in the shuttling than in the warping ; but in acquiring 
pattern development on the warp principle, it is essential that 
the warp should be two-fold, and the cloths be built closer 
in the reeding than in the shots per inch. 

The example is an elementary form of geometric spotting. 
The ground sections, between the repeats of the pattern 
details, may be varied, as also the character and type of the 
spots. But if a cord or repp plan of fabric structure is desired, 
ribbed weave units should be selected, but modified in the 
length of the weft intersections to make them consistent with 
the accurate and precise definition of the spotting details. 
Colouring Fig. 255 1-and-l in two shades of weft (and in 
two shades of warp should the plan be inverted) gives the 
features in H's in a different colour from those printed in 
H's, with the effects in the warp or weft yarn in one or more 
tints as required. 

232. Spotting in both Warp and Weft Intersections. — Should 
the spotted characteristics be woven in both warp and weft 
intersections, the weaves employed in the ground of the 
texture should equally accentuate the effects produced in each 
yarn unit, as, for example, in Figs. 256, 257, and 258 ; or the 
warp spottings should be developed on a weft-woven surface, 
and the weft-spottings on a warp -woven surface as in Figs. 
259 and 260. The first of these systems of design is commonly 
practised in dress textures, with a plain, twill, or rib ground, 
each of which is effective in clearly defining the textural orna- 
ment developed in the wefU as in the warp yarn. Considering 



SPOTTED AND MOSAIC PATTERNS 399 

the line spot pattern— Fig. 256— the -^^ twill enforces the 
streaked details due to both the y^ and the 3^ twills, and 
also fits correctly with each plan. This Hne variety of double 




AAAAAAAA 
Fig. 256. — Line Spotting on 5^ Twtll Ground. 
spotting is appHed to rectangular as well as to striped patterns, 
and is also produced in y- and 5^ sateens or twills, with the 
prunelles weave for the groundwork ; or the plain make may 
be used for the ground with either the ordinary or broken 
4-shaft warp and weft twills in the spotted elements. This 



400 DRESS, BLOUSE, AND COSTUME CLOTHS 

description of design is weavable in worsted and woollen 
yarns, applying twist or fancy threads to sections A — Fig. 
256 — as indicated in the schemes of manufacture appended — 

I. — ^Worsted Costumes 
Warp. 
2 threads of 2/48's light mixture. 
4 „ „ „ medium „ 

Weft. 
24's medium m.ixture, but in a different tone to the 
medium shade in the warp. 

II. — ^Woollen Tweed Costumes 

Warp. 
2 threads of 18 skeins fancy mixtiire (1). 
4 „ „ ,, mixture ground shade. 

2 ,, ,, „ fancy mixture (2). 

4 ,, ,, ,, mixture ground shade. 

2 ,, ,, ,, fancy mixture (3). 

4 ,, ,, „ mixture ground shade. 

Weft. 
16 skeins mixture grornid shade. 

III. — Cotton and Worsted Union 

Warp. 
2 threads of 2/40's cotton, fancy colour (1). 
4 „ „ „ „ ground „ 

2 „ „ „ „ fancy „ (2). 

4 „ „ „ „ ground „ 

Weft. 
24's worsted, matching the ground shade in the warp. 

Scheme II is arranged to distribute the hght mixture yarns 
successively on each group of spotting threads in the repetitions 
of the design, but in Scheme III, the order of the fancy 
colourings — tallying with the number of sets of the spotting 
threads in the pattern — would systematically tint the first, 
fourth, seventh, etc., pairs of threads A in fancy shade (1) ; 
the second, fifth, eighth, etc., pairs of threads A in fancy 
shade (2) ; and the third, sixth, first, etc., pairs of threads 
A in fancy shade (3). Each of these systems of colouring is 
utJhzed in the several makes and grades of fight-fabric 
manufacture. 



SPOTTED AND MOSAIC PATTERNS 



401 



233. Warp and Weft Spotting on Balanced Weave Groimds. — 
In the first place, an illustration of this class of looming may 
be examined in which the plain make is used in the ground, 




Fig. 257. — ^Mosaic Spotting in Warp and Weft Details. 



and in which the spottings — ^Fig. 257 — are produced alter- 
nately in warp and weft floats with certain pronounced effects 
in weft intersections, and divided from each other by plain 
interlacing threads. The idea in this constructive scheme is 
to approximately balance the two sorts of detail, and to 

26— (5264) 




Fig. 258. 
Irregular-shaped Spotting on a Crepe-weave Ground. 



SPOTTED AND MOSAIC PATTERNS 



40S 



develop the distinctive lines of the pattern comjjosed of either 
warp or weft floats. The spotted features are formed in 
regular or irregular shapes, for which sectional parts of 
diamond, diaper, twill, and other characteristic crossings are 
well adapted. In Fig. 257, portions of broad twills have been 
combined. This method of spot distribution is also usable 
in larger scale designs, and with the pattern features produced 
in diamond, lozenge, and other motives. 

Mottled grounds are obtainable in weaves of the mock leno 
and minute check category, as well as in broken and cutting 





Fig. 259. — Transposed 
Spotting. 



Fig. 260. — Sateen-weave 
Details on Cord Structures. 



twills as in Fig. 258, a nondescript but symmetrical species 
of spotted design. The uneven, rectangular forms are here 
outhned in weft interlacings on a warp -flushed surface, with 
well defined effects in floats of weft arranged and grouped 
in agreement with the variety of spotting detail, making the 
distinctive sections of the style. The figured basis, in orig- 
inating this class of pattern is first outhned, and developed 
in weft twills following the constructive fines. The possible 
dimensions of the warp flushes, on either side of the twiUed 
sections, are, in the second place, marked out on point paper, 
and the special spotted features subsequently inserted. In 
running the ground weave on to the looming plan, it is made 



404 DRESS, BLOUSE, AND COSTUME CLOTHS 

to fit with the weft effects, and also with the pattern developed 
in flushed threads of warp. While a severe and sharp 
definition of the different forms should be avoided, the 
character and composition of the design require to be neatly 
and clearly expressed in the fabric, or on the principle of 
construction observed in this example. 

234. Spotting of Warp and Weft Surfaces. — Sateen, diamond, 
and twilled weaves, having a warp or weft surface, are com- 
bined on geometric and other bases, and then spotted with 
simple motives or small figured details. Figs. 259 and 260 
are illustrative of this practice. The former is composed of 
8-end sateen weaves, having the sections A and B grouped 
in a striped relation, with weft spottings — marked in B's — 
on the warp -face plan, and warp spottings — marked in D's — 
on the weft-face plan. The two weaves are used in check, 
diaper, and in various pattern schemes, and the spots are 
distributed on a sateen or other mathematical arrangement ; 
or twilled weaves, the reverse of each other in warp and 
weft intersections, are employed. But, whichever system is 
followed, in this description of weave compound, the practice 
of producing the spotted units in warp effect on a weft-face, 
and in weft effect on a warp-face crossing, is strictly adhered 
to. Textures of another class — Fig. 260 — are acquired by 
developing the spottings in " face weaves " on a suitable 
ground. Here it will be noted that the spots C and D are 
woven in 5-end warp and weft sateens. The effects D are 
lined at the edges with weft cord, and effects C with warp- 
cord, with plain binding or knitting threads and picks for 
delineating and clearly defining the spotted motives. The 
cord weaves have in such instances a two-fold apphcation, 
for they first present each kind of spot on a textural surface 
differing in structure and thread development from that in 
which the spotted sections are woven ; and, second, they 
produce in the ground of the fabric a pattern type in complete 
unison with the plan of the spotted effects. The example 
may therefore be regarded as illustrative of the spotted basis 



SPOTTED AND MOSAIC PATTERNS 405 

in which the ground weaves are adapted in method of combina- 
tion, and also in warp and weft-face features, to the structural 
principle of grouping the detail elements of the pattern. 

235. Mosaic Patterns^-Curvilinear Variety. — These are as 
varied, and as multiform in plan and composition, as designs 
devised on geometric bases. Their mosaic characteristics are 
also similarly diversified and commingled, with the effects 
interchangeable as in the latter. 

It is primarily fundamental that the curvilinear figuring 
should be effectively drafted on point paper, the form and 
shape of the curved decorative types being smartly defined 
by the order of the movement of the warp and weft 
intersections in which they are produced. 

The scheme of design work will be described by referring 
to Figs. 261, 262, and 263 — examples in which the figured 
sections consist of circular and curved outhnes. Fig. 261 
consists of two equal arcs of circles joined together, and two 
similar arcs, so combined as to give the central diamond 
effects marked in S's. The figvning, printed in grey, would, 
in the texture, be sateen woven. Repeating the style exhibits 
the scheme of arrangement more clearly than in the illus- 
tration. Though each of the circular forms is worked out on 
40 threads and 40 picks, the plan of the intersections results 
in the different form types being as neatly curved in the 
fabric as if instrument drawn. When the exact pattern 
structure has been thus produced, the manner in which it is 
treated, as to weave detail, may improve or detract from its 
textile application. Analysing the example, it will be seen 
that the several weaves of which it is formed are planned 
and intermingled with the object of making each section of 
the design interesting and distinct in textural character. In 
constructing patterns of this class, the figuring requires to be 
accurately moulded, but it is also necessary that the woven 
fabric should be level and weU-built, and diversified in weave 
composition. The specimen enforces these principles of design 
and cloth structure, First, the crescent forms are developed 




^^ 



;5 



D I 



fH 



SPOTTED AND MOSAIC PATTERNS 



407 



in warp-face sateen, with the interior sections in a weft diamond 
make ; and, second, the tj'^pes A are woven in twilled lines. 
As constructed, this scheme of pattern is apphcable to cotton, 
silk, or union cloths, giving the more satisfactory woven 
results in close setting and fine counts of yarn. 




Lift H"^ and D '^ 

Fig. 262. — Mosaic Type in Curved Lines. 

236. Curvilinear Forms Spotted. — ^Mosaic designs, in which 
the curved fines interlace, are a development of the principles 
of woven ornament described in reference to Fig. 261. The 
several groups of detail are now arranged to intercross with 
each other ; and the resultant styles may be spotted in warp, 
weft, or both warp and weft. The elemental fines in Fig. 



408 DRESS, BLOUSE, AND COSTUME CLOTHS 



262 are produced in weft twills, with the spotting in compact 
floats of weft, and with the 2^- twill in the ground, making the 
style adapted to worsted warp and silk weft manufactures ; or, 
for such weaving particulars as 2/100's worsted warp and 
30's spun silk weft, in a 20's reed 4's and 80 picks per inch. 





B^ 






tSS^iS^S^ 






■cLkujiL 



B A B 

Fig. 263. — ^Waved Pattern in Twill and Weft Effects. 

Changing the ground make to plain, the methods of production 
to be followed are : (1) that of using cotton warp crossed 
with artificial silk, and (2) that of using silk warp and silk 
weft. The distinguishing features of this example are the 
larger intersecting arc forms, the smaller looped figuring and 
the crescent details, with the effective grouping of the 



SPOTTED AND MOSAIC PATTERNS 409 

spottings. Weft-twiUed weaves are applied to all the decora- 
tive sections of the design, and in a manner which conforms 
with the outlines of the curves as well as with their dimensions. 
237. Curved Forms planned on Geometric Principles.— The 
motives or types employed in curviUnear patterns may be 
grouped in geometric relation, or they may be transposed 
or otherwise arranged. Selecting, for example, an elhptical 
form, a method of looming preparation is shown in Tig. 263, 
where the curved details, woven in warp tmll and flushed 
weft, move to the right in sections A, and to the left in sections 
B. The design is, with or without the extra leaf spotting— 
in K's— suggestive of the kind of pattern-work obtainable in 
waved types, and in contrast with the species of effect of a 
rectiUnear formation. Such curved features should, m the 
texture, be as correctly dehneated as if obtained by the 
process of cloth printing. That this is feasible arises, first, 
from the comparatively smaU scale on which the pattern is 
produced in the woven fabric ; second, from the drafting of 
the motives clearly on the point paper ; and, third, from the 
plan of the weave units and the order of their adjustment. 

This design, and also that illustrated in Fig. 261, are to 
be considered as iUustrative of curvihnear pattern structures, 
repeatable on a Umited number of threads and picks. 
The practice of fine setting in the reeding and in the weftmg 
is essential in producing accuracy of textural origination m 
this class of ornament, and also in the assortment of other 
decorative features constructed on a circular basis. 

238. " All-over " Design Schemes.— The term " all-over " is 
apphed to designs in which the effects are so distributed on 
the surface of the fabric as to give styles of pattern in which 
the lines of the figuring are blended on a definite but apparently 
on a nondescript principle. In one important group of such 
designs, that acquired by drafting weave compounds— Fig. 
264— the pattern forms are indefinable ; but, in a second 
group, that obtained by combining straight or curved Unes, 
or both— Fig. 265— a decided variety of style results, yet one 



410 DEESS, BLOUSE, AND COSTUME CLOTHS 

in which the effects run in an " all-over " formation on the 
face of the texture. Considering the first group, it is distinc- 
tive of designs composed of two or more weave elements. 
Having selected these, they are grouped in sections, and then 




C D 

Fig. 264. 



C' A B A' D C 

-" All-over " Drafted Design. 



D' B 



the several sections are re-arranged by the order of healding 
the warp. Fig. 264, is, for instance, a compound " aU-over " 
drafted style acquired in two weave plans. Its integral 
parts are A, B', C, and D. Their sequence by drafting, 
becomes A, B', C, D, C, A, B, A', D, C, D', B, yielding the 
form of weave decoration illustrated. Further, it will be noted 



SPOTTED AND MOSAIC PATTERNS 411 

that sections A, B, C and D are composed of eight, and sections 
A', B', C, and D' of four threads. Usually several multiples 
of 'threads are combined, as, for example, in 3-shaft weaves, 
three, six, nine, etc., and in 4-shaft weaves, four, eight, twelve, 
etc., that is in multiples corresponding with the number of 




Fig. 265. — Waved Pattern on Draftable Base. 



threads of which the weaves combined consist. This practice 
results in the interchanging of the multiples forming each 
section, which contributes to the varied assortment and 
composition of the pattern. Uniformity, in the plan of weave 
distribution, is, however, a characteristic of this group of 
" aU-over " styles, on account of the mathematical system of 
assorting the sectional parts, and also on account of attaining, 
by the drafting scheme, an identical aggregate number of 
threads of each weave unit in the complete design. In the 
example, there are two sections of eight threads and one 



412 DRESS, BLOUSE, AND COSTUME CLOTHS 

section of four threads of the effects, A, B, C, and D. Here 
4-shaft weaves have been employed, but plans on 2, 3, 5, 6, 
etc., shafts are also used, only the sectional effects would, 
as explained, in compounds of these weaves, consist of two 
or four, three or six, five or ten, six or twelve, or other numbers 
of threads consistent with the multiple of ends and picks on 
which the weaves are respectively constructed. 

239. Waved " Ail-Over " Designs. — ^This basis of design is 
originated in the same way as ordinary decorative types, that 
is in the first instance, sketched on plain paper, and, when 
a correct repeat unit has been determined, transferred on to 
the ruled paper for looming. Fig. 265 is such an " all-over " 
pattern, effective in composition, seeing that it may be woven 
in a shaft-mounting. The intersections in the design are 
representative of a definite weave unit, which implies that the 
design is intended to be apphcable to different builds of fabric, 
according to the weaves used in its development. Four 
methods of working out the example are as follows — 

I. — In two single-plain weaves, when the order of colouring should 

be 1-and-l in both warp and weft. 

II. — In double-plain makes, and in the same method of warping and 

wefting, producing the ground and coiled forms in distinct 

shades. 

III. — In a plain ground with weft figuring, weaving with a cotton 

warp and silk weft. 
IV. — In two simple twills, as a warp prunelle twill for the ground, and 
a weft prunelle twill for the pattern features. 

Actual weaving data for these methods of fabric construction 
are specified below — 

Method I. — Cotton 

Warp. 
1 thread of 2/40's cotton, tint 1. 

^ J» JJ »» 5) ^• 

36's reed 2's. 

Weft. 
1 pick of 20's cotton, tint 1. 

70 picks per inch, 



SPOTTED AND MOSAIC PATTERNS 413 

Method II. — Worsted 

Warp. 
1 thread, 2/60's worsted, shade 1. 

■i »> >> »> »» "• 

21's reed d's. 

Weft. 
Same as warp, 80 picks per inch. 

Method III. — Union 

Warp. 
2/60's cotton, 40 's reed 2's. 

Weft. 
30 's spiin or artificial silk. 
80 picks per inch. 

Method IV. — Woollen Costume 

Warp. 
18 skeins woollen, lO's reed 3's. 

Weft. 
A darker tone of the warp. 
28 picks per inch. 

240. Scroll Surface Decoration. — The scroll and waved form 
of pattern is strictly a species of " all-over " decorative effect. 
Thus, Fig. 266 is a running pattern resembhng in formation 
a twisted ribbon. The waved Unes, being continuous, should 
be equally distributed throughout the area of the texture. 
Unless this rule is observed in originating the sketch, when 
it is apphed to the loom plan and produced in the fabric, 
bars or stripes of detail are formed, destroying balance of 
style. For working out the looming design, sateens, plain 
and repp, or twilled weaves may be combined. Fig. 266 is 
developed in 5-end makes, with the warp effect in the ground 
and the weft effect in the ribbon-hke Unes, so that it is 
apphcable to silk, cotton, and worsted goods, varying the 
setting with the counts of the yarn employed, and the fineness 
of the fabric produced. 

241. "All-over" Patterns Spotted.— WeR-halsmeed "all- 
over " schemes of design are suitable for spotting, in which 
case they are used for decorating the ground of the fabric. 



414 DRESS, BLOUSE, AND COSTUME CLOTHS 

Either Fig. 265 or 266 may be thus treated, developing the 
supplementary spotting details, in the former, in extra weft, 




Fig. 266. — Ribbon or Waved Style. 

and in the latter, in extra warp ; or the spotted types are 
weavable in distinct kinds of crossing from those in which the 
** all-over ' ' pattern features are constructed. Drafted varieties 
of " all-over " designs (e.g. Fig. 264) are also spotted by each 



SPOTTED AND MOSAIC PATTERNS 415 

of these practices. Another method of construction is illus- 
trated in Fig. 267, where, on the irregular mottled ground in 
weft sateen and plain, two oval forms— the interior of which 




Fig. 267. — Transposed Spotting on " Blotched " Ground. 



is spotted in weft details on a warp twill ground— are arranged 
in transposed positions. 

Standard weave units should be used in the origination of 
these and similar types of pattern, which in decorative minutiae 
in the ground and in the spotting, are intended to be suitable 
for either dress or blouse textures woven in different qualities 
and counts of yam. The composite structure and the sinuous 
but balanced figuring, if clearly defined in the fabric, 



416 DRESS, BLOUSE, AND COSTUME CLOTHS 

necessitates the employment of regular crossings in its develop- 
ment. Generally, such figuring is formed in weft-face weaves in 
contrast with a finer description of weave, as plain and sateen 
in Fig. 267, warp and weft prunelle twills (I Method, Para- 
graph 239), Fig. 265, and in two sateens. Fig. 266, but warp 
and weft cords, plain and twill, and plain and repp plans, 
may also be selected. The description of weave applied is 
governed by the character of the scrollwork, and by the class 
of manufacture desired. 

B B' 



aSJfl-bssLis 






1 


><l5 








IS 



S~P^EB a»DM£e«B>i< CB.aqaaan ■□ 



OTSiWP.WQ *ffBom20.«a ■esoani-a* ni 



^'D&<mesDtiu. ma 

^msiOfiimrim amamay^m'^ ac'SCBCWD a 



sPfcfeterkrfcFi-nsK 



ri.a>5« ►sniq ■tMi'Da^ra 



AAA 



24 



AAA 



24 



Fig. 268. — Single Thread Extra 
Warp Spotting. 

242. Extra Warp Effects* — Spotting or figuring in extra 
warp or weft, that is in threads or picks, in addition to the 
yarns employed in making the fabric proper, render the 
manufactured cloth two or multi-ply in such sections of the 
style as the special series of yarns occur. 

Referring to the extra warp principle as illustrated in Fig. 
268, it will be observed that, in parts B and B', the supple- 
mentary sets of threads A, would spot the surface of the texture 
where marked in B's. The ground of the cloth is plain woven. 
Any structure of weave or plan of decorative design is, 
however, usable in the production of the piece. The details 

* See Chapters XV and XVI in Colour in Woven Design, and also Chapter 
IX in Union Textile Fabrication. 



SPOTTED AND MOSAIC PATTERNS 417 

obtained in the extra threads are an additional element, but 
should be in keeping with the design due to the ordinary warp 
and weft of the cloth, and yet, in a structural sense, they 
require to be treated as a distinctive feature. It follows that 
the use of such yarns is in producing — on the face of a common 
or special type of manufacture — effects in a different tint or 
different quahty of thread from the colour of the warp and 
weft yarns utihzed in building a given grade of fabric. Thus, 
in Fig, 268, the cloth is plain throughout, but decorated by 
the threads A, so that by warping and wefting as below, a 
striped cotton blouse cloth would be made — 

Warp. 



2/30's cotton, bright colour 


. 


. 1 


1 1 - - - - 


- - 


„ „ white „ 


. 


. 1 


1-2122 


1 2 


„ „ toned „ 


• 


— 


- 2 1 2 4 2 
30's reed 2's. 


1 2 



Weft. 
2/30's cotton, white, 60 picks per inch. 

Obviously, the scheme of grouping the coloured threads in 
the warp must fit in with the arrangement of the design, 
while the ground sections are hned in the toned colour on the 
white ground. By employing cotton for the plain fabric, and 
worsted yarns for the spotting, the goods are adapted for 
piece-dyeing, tinting the threads made of the wool fibre, and 
leaving those made of the vegetable fibre in the natural or 
undyed state. 

243. Grouping of Spotting Threads. — The spotting threads 
may be grouped singly or in series, or in accordance with the 
origination of any special motive or effect in the cloth. 
Systems of single-thread spotting with plain, striped, or 
checked grounds, are exempHfied in Table XIII, shown on 
page 418. 

The plans for the ground, which may be of a plain, twill, 
mock leno, or fancy weave structure, should be constructed 
to allow the spotting yarns to float over three or more ground 
picks in succession. In the first order of colouring, four ends 

27- (5264) 



TABLE XIIl 

Methods of Colouring Single-Thread Warp Spotted 

Effects 



Warp. 



Weft. 



Ground Shade or White 
Fancy Shade (1) or Tone 3, 

Plate IV, C.W.D.* 
Fancy Shade (2) or Tone 9, 

Plate IV, C.W.D. . 



II 

Ground Shade or White 
Fancy Shade (1) or Tint 4 

Plate IV, C.W.D . 
Fancy Shade (2) or Tint 10 

Plate rv, C.W.D. . 
Fancy Shade (3) or Tint 14 

Plate VI, C.W.D. . 



ni 

Ground Shade (1) or White . 
„ (2) or Tint 14 

Plate VI, C.W D . 
Fancy Shade (1) or Tint 4 

Plate VI, C.W.D. . 
Fancy Shade (2) or Tint 11 

Plate IV, C.W.D. . 



IV 

Ground Shade (1) or White . 
„ (2) or Tint 11, 

Plate VI, C.W.D. . 
Fancy Shade (1) or Tint 5, 

Plate VI, C.W.D. . 
Fancy Shade (2) or Tmt 11, 

Plate IV, C.W.D. . 
Fancy Shade (3) or Tint 14, 

Plate IV, C.W.D . 



Ground Shade (1) or Tint 4 

Plate VI, C.W.D. . 
Ground Shade (2) or Tmt 10 

Plate VI, C.W.D. . 
Ground Shade (3) or Tint 14 

Plate VI, C.W.D. . 
Fancy Colour, T i nt 10 

Plate IV, C.W.D . 



VI 

Ground Shade (1) or White 
„ „ (2) Tint 6 

Plate VI, C.W.D . 
Ground Shade (3V Tint 18, 

Plate IV, C.W.D. . 
Fancy Shade (1) Tint 4 

Plate rv, C.W.D. . 
Fancy Shade (2) Tint 10 

Plate VI, C.W.D. . 



A 

30 



B 

45 



A 
36 



4 4 



A 

27 



66-66-66- 
-66-66-66 
1---1---- 
-1----1-- 



5 5 
1 



4 4 4 4 4 



4 4 4 4 



1_1__ i_i_ 
-1-1- -1-1 



White or Ground 
Shade. 



White or Ground 
Shade. 



White or Tint 14 
and checked 
like Warp in 
ground. 



White Tint 11, 

White, Tint 11, 
and 

6 picks. White. 
12 „ Tint 11. 

6 „ White. 



White, Tints 4, 
10, 14, and 

10 picks. Tint 4 

10 „ ., 10 

10 „ „ 14 



Repeat A 



4 4 4 4 4 
1 - 1 - - 
- 1 - 1 - 



VI. — Wefts. — WUte, Tint 6 or 10 and checked ia the ground colours to match 
the order of warping. 

* Colour in Woven Design. 



SPOTTED AND MOSAIC PATTERNS 



419 



of ground weave and one end of spotting are combined for 
30 threads, followed by eight ends of ground and one end 
of spotting for 45 threads. In other words, the order of 
grouping the two types of yarn requires, in the weave scheme, 
to tally with the system of warping. Taking, in illustration, 

B 













i3 Ki >:^>:^>:^>i^ 









/23*5S7« 



Pig. 269. 



the spotting threads to be arranged as in A and B, Fig. 269, 
the looming practices for Colour Schemes I and II would be — 

Scheme I 
4 threads of grovmd weave, e.g. plain or twill, and the first thread of plan 

A, Fig. 269. 
4 „ „ „ „ plain or twill, and the second thread of 

plan A, Fig. 269. 
4 „ „ „ „ plain or twill, and the third thread of 

plan A, Fig. 269, etc. 

Scheme II 
8 threads of ground weave, e.g. plain, mat or fancy weave, and the first 

thread of B, Fig. 269. 
8 „ „ „ „ plain, mat or fancy weave and the second 

thread of B, Fig. 269, etc. 



420 DRESS, BLOUSE, AND COSTUME CLOTHS 

From these sectional plans — A and B, Fig. 269 — ^it will be 
seen that the spotting ends may be assorted to run in a broken 
twill, sateen, or other simple arrangement, or they may be 
made to give a small " motive " effect should eight or more 
threads be selected for this purpose. Further, it will be 
understood that, for the purpose of accentuating the spotting, 
they may first be grouped singly, second in pairs, third 
developed in thicker yarns than the threads in the ground 
warp, and fourth, they may be inserted in irregular and 
frequent order into the ground of the cloth. 

On examining the Colour Schemes in Table XIII, the 
following features of the yarn groupings specified will be 
apparent — 

In Scheme I the spottings would form a striped effect, the 
threads being grouped four-and-one in section A, and eight- 
and-one in section B. In Scheme II, three spotting yarns, 
running in regular sequence, are used, but their order might 
be varied on such principles as — 

(a) 3 spotting threads of Fancy Colour (1) 

1 „ tliread „ ,, (2) 

■l »» 5» 5> 5> V"/ 

(6) 1 spotting thread of Fancy Colour (1) 

2 ,, threads „ ,, (2) 

1 „ thread ,, „ (1) 

2 „ threads ,, „ (3) 

(c) 2 spotting threads of Fancy Colour (1) 

2 ,, J, J, J9 \^) 

2 ,, ,, a . 5J (^) 

having necessarily the requisite number of ground threads 
between such spotting ends. 

In Scheme III, the ground shade (1) is spotted with tint 
4, and shade (2) with tint 11. The spotting colours harmonize 
with the ground shades. In this system of colouring checked 
styles are obtained by matching the order of the ground 
shades in the weft ; in Scheme IV the ground sections are 



SPOTTED AND MOSAIC PATTERNS 421 

warped 12-and.-12 and spotted in three tints : in Scheme V, 
three ground shades are combined in 10-and-lO order, and 
spotted with one fancy colour : and in Scheme VI, three 
ground shades, warped 20-and-20, are spotted with tints 4 
and 10, the spotting colours toning with the shades in the 
ground. 

It mil be understood that the number of threads in each 
scheme are simply suggestive of those feasible, and that they 
would be variable in practice. 

244. Figuring in Two or Three Extra Yarns. — For figuring 
in extra warp yarns, the supplementary threads may be run 
in regular sequence mth the ground warp threads. This makes 
it possible to produce pattern features in all parts of the 
fabric, and in a manner distinct from spotting its surface 
at intervals, as when the extra yarns are sectionaUy inserted 
into the cloth. By taking a figured effect of this character, 
and using two extra yarns, tliis design practice \n\\ be under- 
stood from the example in Figs. 270 and 270a. Here is seen 
the actual formation of the mottled or blotched type of effect 
which would be woven in the cloth if three shades of warp 
yarn were used. Each thread in the plan corresponds to 
three threads in the looming, so that the D's are to be 
considered as representing one effect, the Kl's a second, 
and the H's a third effect. Assuming the order of the 
warp to be — 

1 thread of 2/60's cotton white 

1 ,, ,, 60 's 2 -fold silk tinted grey 

1 „ „ „ „ „ toned grey 

and the weft white, with 180 threads and 80 picks per inch 
in the loom, the sections in D's would be in white, those in 
Kl's in tinted grey, and those in I's in toned grey. As in 
Fig. 268, the spotting ends float on the underside of the 
fabric when not used on the right side for decorative purposes, 
so in this structure each shade of yarn, when not appearing 
in the figure, is intersecting in sateen order on the reverse 



ggTTJs^ i w< M I M r 



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J 1 p^<.u_a n_ a a i^rnp a a a a 
1-1 ID] I tCL a a a a^^Asa'D'aaa 

XLOtd UnnSmmma aaa ana*^ 



- La,D«aan Daaaan t; 
-- ps:*.aa.DWi aabawa" 'Q 

„□ BBB.B.g.a.aflaDa'a'a*T^ 
I Ml L B.a.a.aBaqr BaaaB~n: 

:sqiiz: u.aa_ w u - ■ l a n i ii rn 
l^jaqn aaQ-BBjE Mtfarr-r 



BBBBiiprn 









\ ■■ ■■ p ;aa»cfB r Bor 

aBaaaa'TT: 
IDMB'aaQ 



m&vmmar 




aaHaai 
aal 



alSHaaHaal 

aaHapSDaf 
aDBaaBPal 
aagJDaaaal 
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aaMaapaal 
aaBaQlDal 
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Fig. 270. {Section only.) 

Extra Warp " Blotched 



Fig. 270a. 



Type. 



SPOTTED AND MOSAIC PATTERNS 423 

side of the cloth. The sectional plan (Fig. 270a) makes this 
clear. It is composed of threads three, four, and five of Fig. 
270, in the exact relation in which they would occur in the 
weaving process. Each of these three threads corresponds to 
three separate warp yarn units in the textures, giving nine 
threads in the cloth arranged thus — 

Thread 3, Fig. 270 — 



Intersections in 


D's 


= 


white or thread 


1 


in 


Fig 


. 270a, 


s> »» 


K's 


= 


tinted grey or thread 


2 


55 




55 


J5 55 


H's 


= 


toned grey or thread 


3 


" 




55 


Thread 4, Fig. 270- 


— 














Intersections in 


□'s 


= 


white or thread 


4 


55 




55 


55 55 


S's 


= 


tinted grey or thread 


5 


55 




,, 


55 55 


■'s 


= 


toned grey or thread 


6 


" 




55 


Thread 5, Fig. 270- 


— 














Intersections in 


D's 


= 


white or thread 


7 


,, 




55 


J> 55 


K's 


= 


tinted grey or thread 


8 


55 




,, 


99 5> 


■'s 


= 


toned grey or thread 


9 


55 




55 



In addition to this example illustrating the principle of 
extra warp design construction, it is illustrative of an economic 
system of manufacture in which only one third of the number 
of picks as threads is needed. The weft neither shows on the 
face nor on the back of the fabric, but lies between the three 
series of warp yarns. Hence, each of the threads — white, 
tinted, and toned grey— in Fig. 270a, where not interlacing 
in wai-p sateen on the right side of the cloth, interlaces in warp 
sateen (as shown in the details \E\ ) on the underside. Here 
5-shaft weaves are combined, but 7-shaft and 8-shaft sateens 
and diamond and twilled makes, may also be apphed. 

245. Extra Weft Spotting. — The method of inserting weft 
spots, or of using extra yarns in the weft, for special colour 
effects, is first shown in Fig. 271, the design for the pique 
texture in Fig. 271a. Apart from the spottings in H's, it 
is an effective build of fabric, with the ground in 3-^ warp 
cord, and the pattern details in flushed weft and in warp 




■■■JfP'q Ki^B'aBiGli OQaanac'S timmtmai 
■tfoWaWii E»«a«5BD k:^aaaaall ii'crla'dH:! 



ORbSBBSS 



{/)«) ec «0 



00 05 «/j tg 



SPOTTED AND MOSAIC PATTERNS 



425 



sateen, the specimen having been produced in 2/60's mercerized 

cotton warp, 32's reed 4's, and wefted — 

13 picks of 2/30's mercerized cotton, ground shade, 
fancy cotton. 



or ( 1 
7 \ 1 
17 
or ( 1 
7 \ 1 



mercerized cotton or silk. 

,, ,, ground shade, 

fancy cotton, 
mercerized cotton. 

,, ,, ground shade. 



60 to 64 picks per inch. 

The extra picks in the design run on the back of the texture 
— except in the parts in which they decorate the face of the 




Fig. 271a. 

cloth — on the same system as the extra threads A in Fig. 268. 
This is the rule for the insertion of the spotting picks in this 
class of patternwork. Consider, for instance, the development 
of the spotted motives in Figs. 222 and 263. They involve 
the picks on which they occur, being stamped twice in 
preparing the designs for the loom, for each of the picks in 
parts S represents two shots of weft in the weaving of the 
fabric. Thus, in Fig. 222, the details a indicate the positions 
in which the spotting picks would be tied on the underside 



426 DBESS, BLOUSE, AND COSTUME CLOTHS 

of the fabric ; but such picks also constitute the ordinary- 
weave effect in the ground of the texture : hence, for preparing 
the cards for, say, the first two picks of the design, the order 
of stamping would be — 

1st Weft line 1 = first ground picli — lift or exit |'s and CD's. 

2nd Weft line 1 = first spotting pick — „ ,, grey marks ,, D's. 

3rd Weft line 2 = second ground pick — ,, ,, 9's ,, D's. 

4tliWeftline 2 = second spotting pick — „ „ grey naarks „ D's. 

The stitching points are not shown in Fig. 263, but the 
method of stamping for the spotting picks would follow that 
of Fig. 222, that is, with the addition of the necessary number 
of ties for securing such picks regularly to the underside of 
the fabric. 

246. Weft Ground and Extra Yarn Spotting. — When warp- 
face weaves are employed in the ground of the texture, parts 
of the spotting may be produced in the ground weft, and 
special parts in the extra weft yarn. Prunelle, -g-^and sateen 
twills, warp cords and warp-face corkscrews, etc., are all used 
in this build of cloth. The examples — Figs. 272 and 273 — 
are suggestive of the employment of a twilled make in the 
ground. This enables a pattern quahty to be obtained in 
the ordinary weft — marked in EJ's^ — as well as in the extra 
yarn — marked in I's. Each Une of weft in the sections 
bracketed A and B, in Fig. 272, corresponds to two and three 
picks of weft as explained relative to Figs. 222 and 263. 
While the use of the ground weft here, proves economical in 
weaving, it somewhat restricts the diversity of colouring, 
particularly as regards the degree of contrast admissible 
between the colour of the extra weft yarn and that of the 
warp yarn. The reason for this is, warp-face twills do not 
provide such suitable positions for the insertion of the ties as 
weaves in which the warp and weft are equally intersected. 
It should, however, be understood that a warp -face plan, in 
the ground sections, helps to emphasize the figuring due to 
the shuttUng yarn appUed in the construction of the fabric. 



SPOTTED AND MOSAIC PATTERNS 



427 



247. Warp and Weft Orders of Colouring applied to Decora- 
tive Pattern Construction. — Each weave unit not only produces 
a specific build and variety of fabric, but, in fixed orders of 
warping and wefting, yields definite and standard tjrpes of 
pattern. It follows that the " colour effects," characteristic 
of the different plans of intertexture, are combinable in the 



\ 






^ 1 1 


S- rr 


^- 


V 


r~ 


1 FX 


"■ 




X 


- 


tl 


H 2ff 2L 




5?- 




K 










A 






K 






X 






^li 






^ 




^ 


_L 






-n 


^ 




_ 


?^ 


s 






-^ 


r ' 


- 




-] 






- 


-fe 






■^ 






- 


■ • 




9 




X 










yi 




M 




X 




• 


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poB^VBaiD cmDOBaB'^a mwMefumaiii BBB'>i<'Baai:) 




^. ._B B»3.BJl >aB.« B.C<BpDO:a 

apP.CJB ►5»B_^ flIB SS.BD,D.D.Q.a 

..DaODOBB n ' aiBDDCDQBH 



■ 5 sBBBB H» T-HrH-gyn m l>j Crfetrf 



JOOOBOaD! apB»2.BB.Be3i BBBtl-'aBBC'i BBB>:<iBB«C 
QDGBBBOG OiQGBBBSiB ■B'KBBB.C:'* BB^SjBBiBOC 



DBBBSiflBB PB.B.B»r<B.fl.B p.OQ.B.'OB.Op. qBBBC<]B.Bji 




BBBSIBBB«3. ■Btt>I<BaOn U 

■"" 1 ■B.>:«.Bpp.ap p»«5.*B*Qiji pDpp.Da/1.- 

i ■s.Bpppp.P ■.>i«.BM»i<a.i *G£i.apAB.B 

■3 fpiD.DplQ»>5 BBapoai.s BBBo.aaop 



er<:BaMS<B:BB E»jiaa>SB.BB. PPPpnpoQ PHB.>i4BBa 




Fig. 272. 



—Mosaic Type with Extra 
Yarn Features. 



formation of geometric, spotted, and mosaic styles of design, 
in which the integral features are formed in distinctive weave 
units, and developed in certain arrangements of warp and weft 
threads, such as 1 and 1 ; 2 and 2 ; 3 and 2 ; 2, 1, 1 and 1 ; 
2, 2 and 2 ; 3 and 3, etc. The practice involves, first, the 
working of the design sketch on point paper in colour, using 
three or four tints : second, the selection of weave elements 



428 DBE8S, BLOUSE, AND COSTUME CLOTHS 

adapted to the effective development of the several sections 
of the design ; and third, the apphcation to the latter of 
schemes of warping and wefting suitable for deUneating the 
several outUnes and features of the style. 

Factors I and II have been treated of, and are common to 




Fig. 273. 
Six-end Sateen Spotted Base, with Extra Yarn Spottings. 



all descriptions of decorative design. The third factor com- 
prises both the theory and principles of textile colouring as 
understood in applying orders of warping and wefting, in 
two, three, and more colours, to standard weave structures. 
Interlacing, for example, two shades of warp and weft yarns, 
l-and-1 in a plain woyen texture, gives hair-line stripe effects ; 



SPOTTED AND MOSAIC PATTERNS 420 

in the cassimere, two varieties of step twill ; in the double- 
plain make, one shade of cloth over another ; in warp cord, 
transverse lines in the two colours ; and in weft cord, lines in 
the two shades warp -ways of the cloth. Changing the order 
to 2-and-2 produces in the plain crossing the type of effect 
at b in Fig. 65 b ; in the cassimere a small check, and in the 
2-and-2 mat a star check. Different systems of yarn grouping 
such as those specified in Table XIII, and different weave 
elements, modify the pattern types obtained. Textural 
details, due to colour and weave, of this character, are usable 
in developing spotted and figured designs, as may be explained 
by reference to Figs. 226, 264, and 273, when warped and 
wefted thus — 

Fig. 226,— Warp and Weft. 
1 thread of shade (1) 

1 ,, „ „ (2) 

Fig. 264. — Warp and Weft. 

2 threads of shade (1) 

changing (Fig. 264) the sections in H's to plain and those 
in H's to "2^ twiU. 

Fig. 273.— Warp and Weft. 
1 thread of shade (1) 
1 »» >> »j (2) 

changing — ^Fig. 273 — ^the pruneUe to plain weave, and pro- 
ducing the spotted sections in H's in double plain, and those 
in H's in the inverted double-]jlain crossing. 

As a result of the order of colouring for Fig. 226, the design 
would be developed in hair-hne effects, with the sections in 
grey in the hnes lengthways of the texture, and the sections 
in B's across the texture. The " all-over " drafted pattern, 
Fig. 264, when modified as indicated above, would consist 
in the ground of the effects seen at A, Fig. 67, and, in the y^ 
twill sections, of small checkings ; while the ground of Fig. 
273 would be in fine Hnes, and the spottings printed m H's 
in shade (1), and those printed in Vs in shade (2). Weave 



430 DEES8, BLOUSE, AND COSTUME CLOTHS 

and colour assortment are, in these examples, observed 
to retain the pattern form in each instance, but to alter 
completely the textural style and tone. 

Spotted and " over-all " schemes of design are specially 
adapted for this practice in looming, arranging the spotted 
motives on a sateen or geometric basis, and constructing the 
" all-over " patterns on the drafted principle. The weave 
plans and orders of colouring commonly employed in making 
such styles, with the types of effect they severally produce, 
are described in Table XIV. 



TABLE XIV 

Pattern Types derived from Fundamental Weaves in Simple 
Orders op Warping and Wepting* 



Order of Warping and 
Wefting. 


Weave Unit. 


Textural Effect. 


1 thread of Shade (1) 
1 ,, „ ,, (2> 


Plain 


Hair-line stripes in the direction of 
the warp or in the direction of 
the weft. 


Ditto, in the Warp crossed 
with one shade of Weft 


Warp-cord 


Transverse lines in the two yarn 
shades. 


yarn 






Ditto, in the Weft, using 
one shade of Warp yarn 


Weft-cord 


Longitudinal lines in the two yarn 
shades. 


1 thread of Shade (1) 
1 (2) 


Ts^ TwUl 


Small step twill in the shades 
combined. 


ditto 


Warp Swansdown 


Similar to the plain but in finer 
set cloths. 


ditto 


Weft 


Ditto, but in transverse lines. 


ditto 


Double-plain 


Two textures, one over the other, 
in Shades (1) and (2) respectively. 


2 threads of Shade (1) 
1 » „ .. (2) 


Plain 


Small lines in Shade (2) at right 
angles to each other on a ground 
woven in Shade (1). 


2 threads of Shade (1) 
1 » » » (2) 


Prunelle 


Hair-line stripe with the lines in 
two threads in Shade (1), and in 
one thread of Shade (2).; 


2 „ „ „ (1) 
2 „ „ , (2) 


Plain 


As in Fig. 67a. 


ditto 


Tfi TwUl 


Small checking. 


ditto 


^3 Mat 


Star Check. 


3 threads of Shade (1) 
1 „ „ „ (2) 


Warp Swansdown 


Hair-line stripe with the lines in 
tluree threads in Shade (1) and 
in one tliread in Shade (2). 


ditto 


Weft 


Ditto, but across the piece. 



* See Chapter VIII, Colour in Woven Design. 



SPOTTED AND MOSAIC PATTERNS 

TABLE XrV — {continued) 



431 



Order of Warping and 
Wefting. 



3 threads of Shade (1) 

2 „ „ » (2) 

ditto 

3 threads of Shade (1) 
3 „ „ .. (2) 

ditto 

ditto 

1 thread of Shade (1) 
1 „ ,. .. (2) 

1 " „ .. (3) 

ditto 

2 threads of Shade (1) 



Weave Unit. 



Textural Effect. 



(2) 
(3) 

(1) 
(2) 
(3) 

(1) 
(2) 
(3) 



ditto 



2 threads of Shade (1) 

1 „ » >. (2, 

1 ,. (3> 

1 " ,, » (^) 

ditto 



1 thread of Shade (1) 



ditto 



^3. Twill 

^5 Mat 
Plain 

Ts^^ Twil 
,a Mat 
Plain 

3I Twill 

Warp Swansdown 

Weft 

^a Mat 

■s^ Twill 



5-end Warp Sateen 
or Twill 



5-end Weft Sateen 
or Tw.ll 

5-end Warp Sateen 
or Twill 



5-end Weft Sateen 
or Twill 



Irregular clieck. 

Lines in the warp or in the weft. 
Broken check. 

Well-defined twilled check. 
Broken check. 

Three groups of lines at right angles 
to each other. 

Ditto, but lines less defined. 

Hair-line stripe with lines in two 
threads in Shade (1) and in single 
threads in Shades (1) and (2). 

Ditto, but across the piece. 



Effect A, Fig. 68B. 



Similar effect, but more broken in 
structure. 

Hair-line stripe with Unes in two 
threads in Shade (1), and in single 
threads o^ Sliadus (2), (H), and (4). 



Ditto, but across the piece. 
Hair-line stripe in five shades. 

Ditto, but lines across the piece. 



248. Compound Weave Spotting and Figuring.— The princi- 
ples and technicaUties of decorative design in compound 
weaves are speciaUy analysed in Chapter IX. Here, however, 
some explanation of the use of these weaves in origmatmg 
spotted patterns, needs to be given. The ordinary makes 



employed are — 



Double-plain ; 
Double-pruneUe ; 
Double-cassimere, and 
Double-sateen. 



432 DRESS, BLOUSE^ AND COSTUME CLOTHS 

Three-ply weaves are also employed and compound makes 
with different weave units on the two surfaces, and also 
treble makes, in which the face, centre, and backing weaves 
may differ, or be the same in structure, such as — 

Double Structubes.* 
(a) Plain-woven on one side, and mat or twill-woven on the other 

side, with the two textures interchangeable. 
(6) Cassimere on one side, and mat or cord on the other side, with 

the two textures interchangeable, 
(c) Sateen on one side, and twill-woven on the other. 

Thbee-ply Structukbs.* 
(a) Plain weave face, centre and back, with each texture 

interchangeable . 
(&) Primelle twill face, centre and back, with each texture 

interchangeable . 
(c) Cassimere twill face, centre and back, with each texture 

interchangeable . 
(tZ) s^ twill face, plain centre and ^^ mat back, with each texture 

interchangeable . 
(e) 3^? twill face, pruneUe twill centre, and s^ mat back, with each 

texture interchangeable. 

Double-weave structures produce one cloth unit com- 
posed of surface and underside textures, and in three-ply 
weaves they produce one cloth composed of three textures, 
one over the other, with, as stated, two or three textures 
interchangeable in position, that is, they may form either the 
face or back of the fabric in the double-makes, or the face, 
centre or back successively in the treble makes. 

The subject is illustrated in plans A, B, and C, Fig. 274, 
three double-plain effects forming striped, checked, and 
spotted pattern types. If coloured, in the warp and in the 
weft, one thread of Hght fawn and one thread of tinted green, 
the grey and black details in the plans would be in fawn in 
the cloth, and the white and dotted details in green. Other- 
wise dissected, section 1 in A, Fig. 274, would give a plain- 
woven fawn texture covering a plain-woven green texture, 

* See Chapter XIII, Woollen and Worsted. 



SPOTTED AND MOSAIC PATTERNS 



433 



and section 2 a green covering a fawn texture. This possible 
interchange of the two textures from face to back and vice 
versa, renders it practicable to produce any description of 
spotted or decorative style by applying weave 1 to the coloured 
sections of the design on the point paper, and running weave 
2 on to the ground. Adapting this practice to Fig. 238, the 
pattern would be sketched in colour on the ruled paper to the 
required scale, then weave 1, Fig. 274, would be dotted on the 
pattern thus prepared, and weave 2 applied to the ground ; 




Fig. 274. — Double Plain Structures. 



so that with the order of colour specified for Fig. 274, the 
design features in Fig. 238 would be developed in fawn colour 
on a green surface. To produce the same pattern in twill 
or in twill and mat, it would only be necessary to select 
double-weaves of the description given above. Should the 
decorative elements be desired in two colours, and in two 
types of texture, with the ground in a third texture, then 
the " rosette " forms. Fig. 238, would in transferring the 
sketch on to point paper, be drawn in one colour, and the 
line characteristics in a second colour, and three-ply weave 
structures employed, such as plans made on the principle of 

28— (5264) 



434 DRESS, BLOUSE, AND COSTUME CLOTHS 



{d) or (e). This would, however, require to be made in three 
forms, namely, for plan {d) — 



f] 


thread and 


. pick face 


- ^a twill 


(1) ] 




L „ centre 


— plain. 


.] 




L „ back 


= 5^ mat. 


(^ 




L „ face 


= plain. 


(2) j] 




„ centre 


= 5 a mat. 


,] 




L „ back 


= ^a twill 


(^ 




L „ face 


= 2* mat. 


(3) ] 




,, centre 


= ^a twill 


(] 




L ,, back 


= plain. 



If these three plans should be used, thus — 

No. (1) in the ground, No. (2) in the floral forms, and No. 
(3) in the line effects ; they would result in the ground being 
twill woven on the face and mat woven on the back, the 
floral forms in plain on the face and mat on the back, and the 
line features in mat on the face and plain on the back. 

249. " All-over " Patterns Developed in Double Weaves. — 

" All-over " patterns of the class illustrated in Fig. 264, are 

producible in double weaves. Providing that, in this design, 

the number of threads in sections A to D should be increased 

respectively to 6 and 12, and two double-plain makes 

arranged — 

1 thread of ground yarn, 

1 „ „ spotting or figuring yarn, and 

1 ,, „ ground yarn — 



should be appUed, the style acquired would be of the type 
sketched in Fig. 275, which has been warped and wefted thus — 



For 
48 threads. 

For 
48 threads. 



thread of worsted yarn, dark shade, 
light shade, 
dark shade, 
dark shade, 
silk ,, light shade, 

dark shade. 



In the specimen — Fig. 275 — the weave units interchange 
the positions of the two groups of yarn according to their 



SPOTTED AND MOSAIC PATTERNS 435 

distribution, or according to the system in which they are 
combined, which, in this example, consists in applying a 
double-plain make, which takes the spotting yarn on to the 
underside of the fabric in the place of the plan marked in 
H's, in Fig. 264, and a double-plain make, which brings this 
yarn on to the surface, in the place of the plan marked in 
■'s. That compound makes of this order are also combinable 
in constructing spotted styles in which the motives are planned 




Fia. 275. — All-over Effect in Double-plain Weaves. 

on a geometric base, is evident from the illustration in Fig. 
276. Here the threads and picks marked in H's, S's, and in 
■'s interlace plain, the order of the threads being — 

1 end of ground ; 

1 ,, spotting ; and 

1 „ ground in both warp and weft. 

The ground yarns in the design make a common twilled 
texture, but the plain weave, or any other suitable plan might 
also be used. Examining the threads and picks, S, S', it will 
be seen that they intersect plain throughout, but only appear 
on the face in such positions of the design where marked in 



436 DRESS, BLOUSE, AND COSTUME CLOTHS 

the symbols El's and Ws, that is, in the spotted features. 
Assorting the yarns in the looming and in the shuttling — 

1 thread of toned brown, 

1 „ ,5 tinted brown, and 

1 ,, 5, toned brown, 

would produce a cloth on the surface with the ground in 




S 5 5 5 liift a's and □ s 

Pig, 276. — ^Reversible Make of Spotted Design — Eight-end 
Sateen Base. 

toned brown, and the spottings in tinted brown, and on the 
underside, with the two colours interchanged in position. 

250. Figured Pattern Origination by the use of Double Weaves 
and Orders of Warp and Weft Colouring. — It has been 



SPOTTED AND MOSAIC PATTERNS 437 

explained how, by combining several weaves in one 
simple order of colouring, the ground and the decorative 
elements in figured designs are produced. With two or 
three double-weave units, the " colour effects " they give are 
interchangeable on like principles as in the combination of 
single-weave colour types. Having, for example, double 
weaves constructed and coloured on the following lines — 
Table XV — it is feasible to interchange the effects which 
they produce on the face and back of the fabric respectively. 



TABLE XV 

Interchangeable Double-Weave Structures in Figured 
Pattern Development 

A. — Double-plain Weave colovired in both warp and weft in the surface 
texture — 

1 thread of Shade (1). 

1 „ „ „ (2). 

And coloured in the underneath texture in Shade (1). 

B. — Double-prvmelle Weave coloured in both warp and weft in the 
surface textvire — 

2 threads of Shade (1). 
1 thread of Shade (2). 

And coloured in the underneath texture — ■ 

1 thread of Shade (1). 

2 threads of Shade (2). 

C— Double-cassimere Weave coloured in both warp and weft in the 
surface texture — 

1 thread of Shade (1). 

1 „ „ „ (2). 

And coloured in the underneath texture — 

2 threads of Shade (1). 
2 „ „ ,, (2). 

D. — Double-Structures with Plain face and i^ Mat back, coloured in 
both warp and weft in the siirface texture— 
1 thread of Shade (1). 

1 „ „ „ (2). 

And coloured in the imderneath texture — ■ 

2 threads of Shade (1). 
2 „ „ „ (2). 



438 DR^SS, BLOUSE, AND COSTUME CLOTHS 

The pattern types obtainable by these compound weave 
units and colourings comprise — 

Plan ^,— Face texture, in hair-line stripes. 
Under texture, in solid colour. 

Plan B. — Face texture, in hair-line stripes, with lines in two threads 
of Shade (1), and in single threads of Shade (2). 
Under texture, in hair-line stripes with lines in two threads 
in Shade (2), and in single threads of Shade (1). 

Plan C. — Face texture, in stepped twill effect. 
Under texture, in checked effect. 

Plan D. — Plain texture, in hair-line stripes. 
Mat texture, in star check effects. 



Providing, as explained, two weaves — one the reverse of the 
other — ^are employed, e.g. types A and B or C and D, the 
pattern units in the two weave types are interchangeable in 
design construction. Outhning in colour, for example, Fig. 239 
on point paper, and running weave A on to the ground, and the 
reverse of A on to the figured sections, would give the 
ground in hair-hne stripes, and the figuring in a plain colour; 
or changing the weave to C for the figuring, and this 
weave inverted for the ground, would give the former in a 
step twill and the latter in small checks. 

In selecting weave units for combination m the development 
of this description of design, their structural character has to 
be taken into account, and also the character of the effect 
which they give in a specific order of warping and wefting. 
If the designs should be full of detail, the smaller weave units 
and the simpler orders of colouring are the more suitable. 
On the other hand, should the decorative types employed be 
framed on a geometric or sateen basis, then the ^, the 3—, 
and the 4- systems of shade arrangement may be utiUzed. 
In addition, varieties of figured styles are preparable for the 
loom in two sateen weaves — warp and weft-face in structure — 
which are adapted for textural production in hair-hne effects 
in three, four, and five shades. 



SPOTTED AND MOSAIC PATTERNS 



439 



251. Spotting in the Backing Threads and Picks of Double 
Weaves. — A useful practice in spotting compound-make 
cloths is that of bringing certain backing yarns on to the 
face, or on the principle of intertexture illustrated in Fig. 277. 
In this design the ends A and the picks B interchange from the 
under to the face side of the fabric in the positions marked 
in B's, and in H's. The ground of such textures is weavable 




Fro. 277. — Double-weave Spotted with 
Backing Threads and Picks. 



in one shade, or it may be striped or checked with the trans- 
posed spotting threads in a bright colour, or in a distinct sort 
of yarn from that used in the body of the texture, as, for 
example — 

Fig. 277. — ^Worsted Costume 

Warp. 
6 threads of 2/64's worsted ground shade. 
1 thread of 2/30's bright colour mercerized cotton. 
9 threads of 2/64's worsted grovmd shade. 

Weft. 
9 picks of 2/64's worsted ground shade. 
1 pick of 2/30's bright colour mercerized cotton. 
6 picks of 2/64's worsted groimd shade. 



440 DRESS, BLOUSE, AND COSTUME CLOTHS 



Pig. 277. — Cotton Dress Fabric 


(but changing the design to a double 


-plain 


make structure). 


Warp. 






Face yarn — 






Tint (1) . . . 


2 


2 


„ (2) . . . 


4 


- 


BaclciTig and Spotting yarn — 






Tint (1) . . . 


3 


4 


Silk, fancy colour 


1 


- 


Weft. 






Face yarn — 






Tint (1) . . . 


3 


1 


„ (2) . . . 


4 


- 


Backing and Spotting yam- 






Tint (1) . , . 


4 


3 


Silk, fancy colour 


1 


- 



According to the first of these practices, a worsted cloth 
in mixture or plain yarns is woven, spotted with mercerized 
cotton, but in the second practice a double-plain cotton 
texture is made, checked in the ground on the face, and woven 
in one colour on the back, and spotted in single threads and 
single picks of silk. 



CHAPTER IX 

PRACTICE IN FIGTTRE DESIGNING 

252. — ^Principles of Ornament. 253. — Sicilian, Florentine, and 
Genoese Specimens. 254. — Oriental Designing Craft — Chinese and 
Japanese. 255. — Indian Loomwork. 256. — Design Skeleton or Struc- 
ttiral Base. 257. — Textural Dimensions of Antique Decorative 
Patterns. 258. — Material and Texture. 259. — Setting and Pattern 
Scale. 260. — Transference of Sketch on to Point Paper. 261. — 
Structural Tj^es of Figiored Patterns. 262. — ^Weft Figuring on a 
Common Weave Grotmd. 263. — Sateen Pattern Production. 264. — 
Pattern Diversification in Sateen Figuring. 265. — Fine Sateen Struc- 
tures. 266. — Sateen Weave Figviring in Combination with other Weave 
Principles of Design. 267. — Form Definition in Extra Yarn Figuring. 
268. — Figuring by Colour Insertion in the Shuttling. 269. — Double- 
Weave Figm-ing. 270. — Reversible Figured Goods. 271. — Compound 
Figured Structures. 272. — Matelass6 Principle. 273. — Shading 
Practice in Figuring. 274. — Scale of Intersections. 275. — Looming 
Structure — Shaded Designs. 

252. Principles of Ornament. — There can be no attempt made 
in this work to analyse the Principles of Ornament. They 
constitute a study in themselves which the student of decora- 
tive design needs to pursue concurrently with his training 
in textile technology. Some of the fundamental features of 
the subject may, however, be outhned, especially as they 
obtain in historic and modern styles of figured woven 
manufactures, and as they relate to high-class dress 
fabrics. 

Nature, as illustrated in plant hfe, is a constant and 
illimitable source on which textile pattern origination draws. 
Loomwork, in the facihties and flexible technique it ofEers, 
as understood in the practice of interlacing threads of warp 
and weft, lends itself to the production, in a textural result, of 
the multi-variety of decorative units which natural forms 
possess and suggest. 

Historic specimens demonstrate this idea, which is alike 

441 



44^ DRESS, BLOUSE, AND COSTUME CLOTHS 

emphasized in ancient Egyptian, Byzantine, and Grecian 
textiles, the surface of which is embellished with decorative 
work, inspired by or derived from the stem, leaf, and flower 
formation of the lotus, the iris, and the vine. 

The damasks, brocades, velvets, and embroideries of the 
SiciUan, Florentine, Venetian, and Genoese worker of the 
twelfth to the sixteenth centuries, are masterpieces in the 
selection and grouping of animal, bird, plant, and flower 
features. The ornamentation is conceived and drafted on 
conventional and traditional lines, and on such principles of 
looming as subsist in the specimens reproduced in Figs. 278, 
279, and 280. In addition to the decorative types here 
exhibited, in the ogee and medalhon patterns of this school 
of woven design, fruit forms, particularly of the pomegranate 
variety, freely occur. 

253. Sicilian, Florentine, and Genoese Specimens. — Early 
SiciUan textures not infrequently bear the impress of Eastern 
influence, both in decorative structure and in style composi- 
tion. Thus, in Fig. 278, Arabic lettering is inserted in the 
panels, and a running border of Persian extract is introduced, 
while the method of treating and distributing the bird and 
animal types are pecuhar to Eastern conception. Apart from 
the historic significance of this twelfth century specimen, the 
design is suggestive of true textile craftsmanship. The frame- 
work of the " repeat "is skilfully devised ; the larger figures 
are consistently grouped with the central flower and leaf 
ornamentation ; and the intermediate or ground spaces of 
the pattern are vigorously decorated. 

Fig. 279 is of a later date, and texturally of the Genoese 
character. Here the decorative quahty is enhanced by the 
looming practice foUowed, inasmuch as the figured sections 
are developed in velvet pile on a smooth warp-sateen surface. 
The ornament is partially geometric and partially floral in 
structure, with the flower and leaf details proceeding naturally 
from a central or parent stem. The " skeleton," or basic 
lines on which the pattern is elaborated, is that of constructing 




Fig. 278. — Specimen op Sicilian Textile Ornament. 
Twelfth to the Thirteenth Century. 



444 DRESS, BLOUSE, AND COSTUME CLOTHS 

certain primary decorative elements, which are inverted or 
turned over in one section, and then transposed in position 
in making the " repeat " of the style. In these technicahties 
it is suggestive of the variety of patternwork derivable from 
a comparatively small number of design units by the basic 
plan on which such units are combined. 




Fia. 279. — Specimen op Genoese Textii^ Ornament. 



In the third example, Pig. 280 (a reproduction by one of the 
authors of a sixteenth century silk brocade fabric, and woven 
in a 1200 Jacquard machine, with 160 threads and shots per 
inch), diversity of woven surface exercises a lesser influence 
than in Fig. 279, the pattern forms being forcibly expressed 
in the effects due to the contrast between the warp and weft 
sateen weaves employed in its construction. The weft weave 




B C 

Fig. 280. — Sicilian Decorative Specimen — 13th to 14th Century. 



446 DRESS, BLOUSE, AND COSTUME CLOTHS 

appears in the figured sections, and the warp weave in the 
groundwork. To produce this texture with a plain or smooth 
surface, and the pattern in velvet pile, would unnaturally 
exaggerate the decorative types of which it consists ; whereas, 
on the sateen principle of intertexture apphed, the animal, bird, 
leaf, and conventionalized floral forms, inclusive of the 
geometric figurings, are clearly delineated in the fabric* 

Italian loomwork of the Renaissance is generally illustrative 
of surface decoration as a result of ornament acquired in 
textures perfect in structure ; that is, in the setting and in 
the quality and counts of the silk yarns used, but in which 
the range in colour and in weave is somewhat restricted. 
The strength and character of the designs exist in the 
ornamental forms, from whatever source selected, and in the 
principles on which these forms are modelled and unified. 
The design quahties are acquired without having resource 
to shading and profuseness in colour tinting, which are apt 
to distinguish the efforts of the technologist who depends, 
too obviously, for decorative efficiency on these adjuncts 
in dehneating and developing the component parts of a 
pattern. 

254. Oriental Designing Craft — Chinese and Japanese. — 
Oriental craftsmanship (Chinese, Japanese, Indian, and Persian) 
is, on the other hand, more diversified and richer in colour 
tone. In the instance of the loom productions of China and 
Japan — woven, or woven and embroidered — ^the design 

* In Fischbach's comprehensive work on historic decorative textiles — 
gleaned from various national and other museums — ^the examples in Figs. 
278, 279 and 281 are shown printed in colour. Professor Roberts Beamnont, 
in a lecture on the " Sczepanik's Inventions — A Photographic Method of 
Preparing Textile Designs," given at a meeting of the British Association 
in Bradford, exhibited a number of early decorative fabrics, the designs for 
which had been produced and woven by this system. For this purpose 
photographs had, in the first place, been taken of the originals, and, in the 
second place, such photographs had been enlarged and transferred on to 
ruled paper, with the necessary weave units added, and without the work of 
technical draughting. From these photographically obtained point-paper 
results, the designs were stamped electrically for the loom. 

In view of recent inventions said to have these objects in view, it may be 
stated that the Sczepanik's inventions and processes of work were successfully 
used, in the manner described, by Professor Beaumont in the early 90's. 



PRACTICE IN FIGURE DESIGNING 447 

treatment embodies plant forms as suggested in the foliage and 
flower of the peony, the chrysanthemum, the poppy, and in 
mimosa and fruit tree blossom. It is, moreover, cognizant of 
the value of form in decorative style as discoverable in such 
phenomena as the running stream, cloud masses and formation, 
and in the feathered and animal species. More especially is 
the Japanese craft worker a close observer and student of 
Nature. He adapts and utihzes, but at the same time he 
originates, combining, in his work, geometric with floral types, 
and exercising technique in translating these into textile 
decoration. The result is a species of woven art varied in 
colour tinting, and in structural anatomy, with the individual 
or integral elements of the pattern enforced by the weave 
units and colour tones appUed. 

Neither in the ornamentative nor in the colour scheme 
are restrictions observed. Where mechanical practices in 
weaving would limit, manipulative practices take their place. 
These characteristic features are evident in the decorative 
robe specimen, Fig, 281, varied in design and tinted composi- 
tion to an impracticable degree in the use of automatic 
machinery. Geometric, in addition to floral decorative units, 
are here consistently associated. The hexagonal types are 
separately ornamented both in the ground and in their central 
figures, but are rightly conceived as a secondary feature in 
the design style. As in Western craftsmanship, the natural 
forms are strictly conventionaHzed ; hence in the colour scheme 
apphed in the weaving of this specimen, the geometric sections 
are developed in two tones of bro\Mi, of fawn, and purple, 
with the pattern diversified by interchanging the ground 
colouring in the panels, though developing their ornamental 
elements uniformly in brown and silver grey. Richer tones 
and tints are combined in producing the flower and the leaf 
ornamentation, the flowers being successively woven in fight 
red and gold, purple and blue, and in two tones of salmon, 
and the leaves in pale gold, blue and green. 

The weave structures fit in with the development of each 




Fig. 281. — Japanese Decorative Texture. 

{From a collection of Eastern Textiles compiled by Professor Beaumont.) 



PRACTICE IN FIGURE DESIGNING 449 

class of decorative effect, the ground — ^in silver grey — ^being in 
a fine warp twill, and the petals of the flowers, and also the 
leaves, in a full weft twill. To obtain the fast, neat decorative 
forms on the face of the cloth, the shutthng yarns employed 
are regularly stitched on the underside, necessitating the use 
of a supplementary warp for this purpose, which is skilfully 
utilized in imparting clearness to the weave units, and in 
imparting distinctiveness to the pattern outlines and 
details. 

255. Indian Loomworh. — Indian loomwork is of a different 
category. In a sense it lacks, as compared with other Eastern 
styles of design, freedom of colour expression and breadth of 
ornamental treatment. 

The former factor is contingent on the latter, inasmuch as 
range in colour is, in woven art, affected and controlled by 
the nature and diversity of the design characteristics. Pattern- 
work, inclusive of the different species of form gleaned from 
natural objects, presents possibiUties in colour application 
of a more complex quahty than patternwork composed of 
minute details and line effects, worked out on rigid and fixed 
principles of ornamentation. 

Indian textiles of the Cashmere shawl description, are 
illustrative of a kind of trellis or fretwork design wrought in 
threads — a tracery or outlining of form rather than distinct 
figure production. The apphcation of subdued hues and tints 
to this branch of woven design would render the details 
indistinct and blurred. Tone upon tone colouring, observed 
in Japanese styles, would be inappropriate in loomwork in 
which minuteness in the design features demands strong, 
pronounced colour contrasts ; otherwise the beauty of the 
whole pattern would suffer. Colouring proceeds on fines and by 
methods adapted to the character of the ornamental factors. 
On this ground, Japanese textiles are afike typical of both 
toned and decided contrasts, and Indian textiles of the 
combination of positive and vivid colours. 

Indian decorative textiles resemble hieroglyphic effects 

29— (5264) 



450 DRESS, BLOUSE, AND COSTUME CLOTHS 

woven in colour. Successive sections of the pattern are 
transcribed in brilliantly-dyed yarns, each section being in 
similar colours, but differently grouped or arranged. This 
enhances the diversity of colour blending, without adding to 
the number of distinct hues combined. Taking the historic 
pine form of figure, and producing it in black, white, red, 
blue, and green in the ground, and developing the design lines 
in red and blue, a diversified scheme of tinting is formed in 
three colours and white and black. 

In the textile ornament of which the Indian shawl is typical, 
pattern is the result of a process of stitching or of colour 
insertion ; for the yarns employed in producing the design 
structure are crossed in directions, agreeing with the form 
of the figuring, and not, as in weaving, at right angles with 
the warp threads. By adopting this system of textural 
colouring, the repetitions of corresponding parts of the style 
are definable in distinct varieties of colour arrangement, A 
modernized example of this design basis is given at Fig. 295, 
and treated of in Paragraph 268. 

256. Design Skeleton or Structural Base* — Whatever the 
style of decorative design being originated, the particular 
form of " skeleton " employed is a fundamental and controlling 
feature. The term is used in defining the structural fines of 
the pattern, and those on which the decorative units — foHage, 
flowers, etc. — are built up and organized. It also determines 
the " repeat " of the design. Moreover, this basic plan, 
which may be geometric or partially so, or, as in a number 
of the Japanese and Chinese examples, a replica of the possible 
ornamental fines in the width of the fabric. 

The geometric base demands that the decorative forms 
should be conventional in character ; for a set, stereotyped 
" draft " is favourable to flatness of tone in the ornament, 
whether this be a composition of flower, plant, bird, and 



* For studies in modern decorative design, see the admirable work, 
printed in colour, La Flore Decorative, by Henry Lambert ; also Friling'ai 
Modernflachornamente. 



PRACTICE IN FIGURE DESIGNING 



451 



animal types, or simply of plant forms. Similarly, a naturalistic 
design scheme necessitates a basis of construction which 
provides for a free and graceful grouping and disposition of 
the decorative Unes and features. These distinctions in the 







r 



Fig. 282. — Design Constructed on a Geometric " Skeleton." 

'* skeleton " selected for different styles of design are charac- 
teristic of the dress-fabric examples in the Figs. 282, 283, and 
284, as well as of the historic specimens described. With 
geometric decoration, a mathematical formula should be 
followed, though it may be suggested by plant and floral 
details as in Fig. 282, a pattern comprising a central element 




Fig. 283. — Conventionalized Foliaof: axd Floral Design, 













0^, 3 -^-^ 



Fig. 284. — Foliage and Floral, Design — Naturalistic 
Treatment. 



^:^^ 



454 DRESS, BLOUSE, AND COSTUME CLOTHS 

out of which the hnes symmetrically develop, with four leading 
ornamental types — ^printed in grey tone — ^placed at equal 
distances from each other, and arranged on a diamond base. 
The more natural flower and leaf composition — Fig. 283 — ^is 
developed on the " drop " and " turn-over " base, with 
suitable foUage filling in the ground area of the pattern. 
This is also the skeleton type applied in the origination of 
Fig. 284, consisting of dehcate floral features, delineated in 
lines of a free and slender character. 

The scheme of construction having been planned, the 
integral parts of the ornamentation, that is the flowers in 
Fig. 283 and the large leaves in Fig. 284, are outhned, and 
then the supplementary lines of the design added in a manner 
that links up the stems, leaf, petal, and other floral elements, 
into a compact decorative style. 

The imaginative or creative skill exercised in this class of 
patternwork, differs in kind, but not in principle, from that 
observed in decorative textiles of the Renaissance period. 
The latter, as pointed out, are formulated on a fractional 
ornamental factor, complete in itself, which, by transposition 
in the width, and in some specimens in the length, acquries 
decorative force and unity. The initial or created ornament 
in Figs. 278, 279, and 280 is comprised in the features 
bracketed B. The method of casting or framing develops a 
pattern " repeat." First, the form units in section A are 
transposed on the dice or honeycomb principle of weave 
origination — Fig. 91 — and second, the compound decorative 
type thus drafted — included in bracket B — is centrally placed 
in the area of the pattern, or the two compound units are 
so arranged that the lower portion of the ornament in C fits 
in with the upper portion of the ornament in D, Fig. 279. 
Balance of figure distribution is dependent on the character of 
the grouping of the ornamentative types so classified — as in the 
mosaic weave designs in Figs. 258, 261, 262 and 263 — and also 
on the intermediate scheme of decoration which fashions these 
types into a complete design. 



PRACTICE IN FIGURE DESIGNING 455 

257. Textural Dimensions of Antique Decorative Patterns. — 
Technically, the constructive plan in the early ItaHan examples 
is reducible to the simple principle of double-point " drafting," 
which multiphes the harness capacity, quadruphng its range. 
Thus, if the harness should be tied up on this system, and 
200 tail cords (draw loom, pressure-healds mounting) should 
be employed in the weaving of section A — ^Figs. 278, 279 and 
280 — and each mail in the harness should actuate five threads 
(drawn in one mail and separately healded in the shafts), 
this section would contain 1,000 threads. Hence, by inverting 
the detail of which it is composed, and without adding to the 
cords (equal wires in the Jacquard machine), the compound 
section B would contain 2,000 threads. For section C, a 
further complement of 200 tail cords would be necessary, so 
that a full repeat of the pattern would contain 4,000 threads, 
or, with 160 ends per inch, it would be twenty-five inches 
in width. 

258. Material and Texture. — The class of material applied, 
the fineness of the warp and weft threads, and the weave 
structure of the fabric, are obviously technicahties which 
restrict or expand the possibihties in the delineation of 
decorative ornament in the loom. The sketches in Figs. 282, 
283, and 284 may be considered in illustration of these 
weaving essentials. Differing in quality and in decorative 
style, to reproduce them in one build of fabric would be 
an unsatisfactory process. The severer geometric pattern — 
Fig. 282 — is producible in ordinary setting and weave units, 
but the involved interlacing leaf forms, as well as the practice 
in drafting the flowers in Fig. 283, necessitate fine setting, 
and the use of fine comits of yarn, with the use of weave 
units strongly in contrast. Further, to interpret correctly 
the dehcate outHnes and formation of the flowers and foHage 
in Fig. 284, the build of the fabric needs to be two-ply, or 
diversified in the types of weave apphed to each species of 
ornament. The methods of looming described below, are 
suggestive of the principles of work to be observed in 



456 DRESS, BLOUSE, AND COSTUME CLOTHS 

transferring the sketches on to point paper, and in producing 
the designs in the woven fabric — 

*FiG. 282. — Union Dress Texture 
Warp. 
2/60's cotton, 40's reed 2's. 

Weft. 
176 denier artificial silk, 80 picks per inch. 

Weave Units. 
Ground section = plain. 
Features in grey = ^^ twill. 

,, ,, black = 5-end weft sateen, and weft twills, 

varying in intersections from three to seven. 

Fig. 283. — Spun Silk or Mercerized Cotton Texture 

Warp. 
2/80 's counts, 120 ends per inch. 

Weft. 
40's counts, 120 picks per inch. 

Weave Units. 
Ground section = 5-end warp sateen. 
Figured section = 5-end weft „ 

Fig. 284. — Cotton and Silk Union 

Warp. 
1 thread of 60 's 2-fold silk. 
1 ,, ,, 2/40's cotton. 
1 „ „ 60's 2-fold silk. 
144 ends per inch. 

Weft. 
1 pick of 30's silk tint (a). 

140 picks per inch. 

Weave Units. 
Grovmd Section = repp in silk warp. 

Figured Section : Stems = solid weft floats in tint (o). 
Outhnes of leaves and 

flowers and also veins 

in the flowers = solid weft floats in tint (&). 

Leaf and flower veins = weft sateen and weft twill in 

tint (a). 
Veins of large flowers = warp repp like ground sections. 

* Figs. 282, 283 and 284 are reproductions of original designs by Messrs. 
F. Pemberton, W. Clough, and Julius Job, late students of Professor Beaumont. 



PRACTICE IN FIGURE DESIGNING 457 

In these looming practices, it will be observed that the 
simpler variety of design — ^Fig. 282— is producible in an 
elementary warp and weft setting and in common plans of 
weave. The difference in effect between the cotton warp effects 
— ^plain intersected in the ground — and of the silk weft effects — 
in twill and sateen in the figuring — develops this variety of 
pattern satisfactorily. With the decorative features in a flat 
tone, as in Fig. 283, the warp and weft yarns may be of similar 
counts, but one yarn two-fold and the other single, or one 
yarn firmer and less diffusive in quality than the other, and 
with the weaves, combined for ground and figure respectively, 
the reverse in warp and weft intersections respectively. In 
the instance of the ornament being composed of fine fines 
and details, as in Fig. 284, the textural build requires to be 
modified accordingly, employing two kinds of yarn in the 
warp, and one or two sorts of yarn in the weft. This style 
of figuring is not adapted for reproduction in the kind of 
looming principles indicated for Fig. 281. A distinctive 
ground weave, is, in the first place, essential, and in the 
second, the decorative elements require to be woven in two 
tints of weft yarn, with, if the sketch is to be faithfuUy followed, 
the veins in the larger leaves developed in a similar ribbed 
crossing to that formmg the giound of the texture. 

259. Setting and Pattern Scale. — Pattern clearness, fineness, 
and definition, are determined by fabric setting as by fabric 
structure. The setting practice also fixes the dimensions of 
the pattern in the fabric. In the settings for these examples, 
the pattern in Fig. 282 would be 4i-in., and in Figs. 283 and 
284, 5 in. in width, in Jacquard machines of 384 wires for 
the first, and of 600 wires for the latter. Increasing the 
fineness of the set without adding to the capacity of the 
Jacquard, would reduce the size of the pattern in the fabric, 
and would cause the detail to be less distinctive ; and in 
Figs. 283 and 284 the ornament would suffer in textural 
dehneation. On the other hand, practising more open setting 
in such harness mountings, would enlarge the dimensions of 



458 DRESS, BLOUSE, AND COSTUME CLOTHS 

the pattern, and have the effect of rendering the ornamentation 
coarser in quahty. 

It should, however, be explained, that finer settings may 
be practised in higher counts of yarns, and in a proportionately 
larger Jacquard machine, and the scale of the patterns retained 



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Fig. 285. — Silk-figubed Texture — Repp Ground. 

Other schemes of warping and wefting, and of weave combina- 
tion than those indicated, are also applicable. Thus, Fig. 282 
is suitable for textural development in the build of fabric 
illustrated in Fig. 285 by applying the Ottoman rib in this 
specimen to the groundwork of Fig. 282, the fine rib to the 
sections in grey, and the weft interlacings to the sections in 







2 ^ H 

a < < 

g 5 5 

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Q a i 



in 3 Q 



u. s 5 



Practice in figure designing 459 

black. The loom setting would, in this adaptation, be altered 
to accord with the weave structures, arranging the warp 
two threads of 120's two-fold silk, and one thread of two-fold 
60's cotton, and the weft two picks of 60's silk, and one pick 
of 30's cotton. Fig. 284 is likewise weavable in other systems 
of looming than that specified, as, for example, in the textural 
types illustrated in Fig. 286, by substituting — 

(1) The warp sateen in Fig. 286 for the repp in Fig. 284. 

(2) The repp in Fig. 286 for the weft sateen in Fig. 284. 

(3) The shaded effect in Fig. 286 for the weave in the veins of 
the leaves in Fig. 284 ; but retaining the outhnes and surface 
markings in the petals and flowers, in floats of weft. 

260. Transference of Sketch on to Point Paper. — In trans- 
ferring the original sketch on to point paper, the set and 
build of the fabric, and the capacity of the Jacquard have to 
be taken into account. Assuming the sketch to be that in 
Fig. 287, it is required to produce the design— first, in a dress 
fabric, with a cotton warp and silk weft, and with 80 threads 
and picks per inch in the loom ; and second, in a double-weave 
worsted costume with 96 threads and picks per inch, and with 
288 working wires in the Jacquard machine. This would give in 
the first texture a i^attern of -qq-, or of 3f inches. 

For the accurate drafting of the sketch, it is usually divided 
into a number of rectangular sections divisible into the num- 
ber of large squares in the looming plan. The width of the 
design in th^s case being limited to 288 threads, the point paper 
would contain 36 X 48 demarcation squares. The convenient 
number into which to divide the sketch is, therefore, 12 X 16, 
which gives each section equal to 24 threads and picks on 
the point paper, so that the portion bracketed A in Fig. 287, 
when transferred on to point paper, occupies 96 threads and 
picks. In working out this part, the I's in Fig. 287a corre- 
spond to the figuring in black, and the sections marked in H's 
to the figuring in grey in Fig. 287. Thus prepared, the design 
simply represents the correct enlargement and transference 
of the sketch on to the ruled paper. 



460 DRESS, BLOUSE, AND COSTUME CLOTHS 

To develop the design in the two textures specified, after 
thus outhning the pattern, the weaves would be appUed. 




Fia. 287. — Design Sketch prepared for Point-paper 
Development. 



For the union dress, the ground would be plain, the details 
in Q's in sateen, and those in I's in weft twill. For production 
in the double-plain cloth, one weave would be appUed to the 
rosette figuring, and the reverse weave to the leaf features. 



PRACTICE IN FIGURE DESIGNING 461 

Colouring one thread of shade (1) and one thread of shade (2) in 
both warp and weft, would therefore give the grey forms in Fig. 
287 in shade (1) and the other decorative forms in shade (2). 
In order to differentiate between these two figured types, the 
ground of the fabric would require to be in an intermingled 



Fig. 287a. — Section of Looming Design fob Fig. 287. 

shade, so that a weave would have to be used in the ground- 
work of Fig. 287a, of a similar type to that marked in Kl's. 
The designing practice described is pursued in preparing 
and transferring the sketch of each class of decorative style 
on to point paper, as may be further shown by reference to the 
drafted harness pattern in Fig. 288. Here each repetition of 



462 DRESS, BLOUSE, AND COSTUME CLOTHS 

the pattern in the width of the fabric would comprise the 
features in sections B and B', grouped on either side of the 
ornamentation in sections A and C, for the system of drafting 
the harness in a 384 wire machine, would cause — 

Neckbands Nos. 1 to 192 to correspond to Threads 1 to 192 in the 

looming design or to Section A in Fig. 288. 
„ „ 193 to 288 to correspond to Threads 193 to 288 in the 

looming design or to Section B in Fig. 288. 
„ „ 289 to 384 to correspond to Threads 289 to 384 in the 

looming design or to Section C in Fig. 288. 
„ „ 293 to 288 to correspond to Threads 385 to 480 in the 

looming design or to Section B' of Fig. 288. 




B' C B A 

Fig. 288. — Design Sketch for Drafted Harness-Mounting. 



This principle of harness mounting repeats certain decorative 
sections in specified order in framing the complete style, so 
that in a sense it both restricts and expands pattern 
origination. It fixes the constructive lines or basis of the 
design, and also inserts, in two or more positions, certain 
units of effect — Section B, Fig. 288 — ^into each repeat of the 
style. The first provision renders it impracticable in designs 
occupying the full Jacquard capacity to modify the form of 
the style, which must be of a striped or rectangular structure, 
and the second enlarges the design as drafted for the loom. 

The " tie-up " illustrated in this sketch demonstrates these 



PRACTICE IN FIGURE DESIGNING 



463 



technicalities. It increases the size of the repeat of the 
pattern, but it also hmits the field in pattern invention to 
striped surface decoration. Yet in rendering parts B common 
to each section of the style the decorative scheme is 
clearly elaborated. For subduing or neutrahzing the line 
definition, which tends to divide up patterns thus constituted. 







.1 • ■■■]■*■■■■■■ 

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J^^^-^-^^ 

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Fig. 288a. 



it is a useful plan — as in Fig. 288 — to run one description of 
figuring uniformly through each section. By this practice, 
an " all-over " form of decoration is combined with pat- 
tern types of a special character, and arranged on a drop, 
rectangular, or " turn-over " principle. 

To work out the sketch for card stamping, it is only necessary 
to transfer parts A, B, and C on to point paper, sub-dividing 
these into equal squares — ^parts A into 12, and parts B and 



464 DRESS, BLOUSE, AND COSTUME CLOTHS 

C into 6 in the width — so that each square would be equivalent 
to 16 threads and picks in the looming plan. Providing it 
should be intended to differentiate the pattern forms in A 
from those in B and C, then the ground weave in the respective 
stripings would be varied, and also the weaves apphed to 
the figured effects printed in dark tones. Two methods of 
preparing the sketch may be suggested : first, the development 
of the leaf details in warp intersections, with the surface 
figuring, in parts A and C, in weft intersections, in which case 




Fig. 288b. 

the ground weave would require to flush the warp and weft 
equally on each side of the cloth. Second, the method 
illustrated in the sectional plans — ^Figs. 288a and 288b — in 
which the ornamental types are produced in weft, and the 
groundwork in warp-face weaves. 

Only the portions S and S' of Fig. 288 have been treated. 
In order to emphasize the common relation of the shamrock 
pattern to the supplementary design features in sections A 
and C, it is developed in one type of crossing, namely, the 
diamond weave marked in l^'s. In Fig. 288a the ground 
weave is y- twiU, with the surface pattern in pronounced 
weft floats, but in Fig. 288b the ground weave is -^ warp 



PRACTICE IN FIGURE DESIGNING 



465 



cord, with the surface figuring in a 10-shaft weft sateen. 
This practice in looming would result in each kind of pattern- 
work being similar in tone and definition in the fabric as in 
the sketch. 

261. Structural Types of Figured Patterns. — With a view of 
illustrating the practices in developing figured styles, the 
textural principles, appUed in drafting the patterns on point 
paper and defined in Table XVI, will be dissected — 

TABLE XVI 

Figured Fabrics — Structural Types 



Fabric Type. 



Fabric Build. 



Examples. 



1 . Fabrics with Weft Pattern 
Features on a Common 
Weave Ground. 

2. Weft Figured Fabrics with 
a Warp Sateen Ground. 

3. Sateen Figured Textures. 

4. Sateen Make of Figured 
Fabrics — Fine Structures. 

5. Extra Warp, Weft, or 
Warp-and-AYeft Figured 
Textures. 

6. Figxired Double-weave 
Textures. 

7. Reversible Figured 
Fabrics. 

8. Multi-Weft Figiired 
Structures. 

9. Compound Figiired Struc- 
tures. 

10. Warp Figured Matelasses. 



11. Fabrics with Shaded 
Figuring in Weave and 
Colour. 



Single in Warp and 
Weft 

ditto 

ditto 
Single in the Warp 

and 2-plv in the 

Weft. 
Two or 3 -ply in either 

Warp or Weft. 

Compound in Warp 
and Weft, 
ditto 

Single in the Warp 

and Multi-fold in 

Weft. 
Multi-ply in both 

Warp and Weft. 
Compound in the 

Warp and Single 

or Two-ply in the 

Weft. 
Single or Compound 

in Build. 



Figs. 213, 214a, 262, 
and 289 

Figs. 290 and 290a 

Figs. 266 and 280 
Figs. 3, 291, 291a, 
and 292 

Fig. 294 



Fig. 297 

Figs. 298, 298a, 299, 

and 299a 
Figs. 295, 293a, 296, 
and 296a 

Figs. 300, 300a, and 

301. 
Figs. 302, 302a, 303, 

304, 304a, and 305 



Figs. 306, 307, and 
308A 



Efficient practice in figure designing is closely aUied with 
the mastery of the principles of pattern origination as 
exemphfied in " Weave Compounds," and in " Spotted and 
Mosaic Structures." Thus, the dress design in Fig. 213 is 
illustrative of the weaving technique appUcable in producing 

30— (5264) 



466 DRESS, BLOUSE, AND COSTUME CLOTHS 

pattern units of a diamond character in a plain-woven texture, 
with the integral sections of the simple decorative scheme 
expressed in weaves differing in the dimensions of their weft 
intersections. Or, to take Fig. 220,' it is suggestive of Hne 
and form definition obtainable in weft cord weaves, while in 
such examples as Figs. 215, 218, 222, and 223, it is clearly 
evident that " weave " structures may be utihzed in acquiring 
different types of pattern development. 

In the mosaic group of styles, similar principles of weaving 
obtain, but in designs further elaborated in hne structure, 
and constructed on rectangular, transposition, and curvilinear 
bases. Such pattern types as those in Figs. 253, 258, 262, 
263, and 266 denote that different varieties of hne and form 
grouping may be suitably defined on point paper, and, there- 
fore, in the woven fabric. But correct drafting is essential, 
which involves weave units being selected and combined which 
distinctly bring out each species of effect of which the style 
is composed. Moreover, it was shown that in spotted and 
mosaic figuring, certain features are producible in extra warp 
or weft yarns — Figs. 270, 271, and 273 — or in double weaves, 
as in Figs. 275 and 276. It is these fundamental and varied 
systems of looming, and of fabric structure, which, in a 
modified and elaborated form, are employed in originating 
styles of a figured or decorative category. 

262. Weft Figuring on a Common Weave Ground. — Many 
styles of figured patterns are woven on this principle. The 
pattern elements are constructed in compact floats of weft 
yarn, twilled, or regularly stitched ; or they are produced 
in different classes of weave. Fig. 289 is a typical structure 
applicable, first, to silk fabrics ; second, to union textures 
having a cotton warp and lustre weft yarn ; and, third, with 
the broader figured details woven in sateen, to worsted tex- 
tures. The scroll work is suggestive of the running form of 
simple ornament, which is frequently introduced into this 
variety of design, and woven in a firmer and faster plan of 
intersection than the more prominent parts of the pattern. 



PRACTICE IN FI&UBE DESIONtNG 



467 



In working out the style in a silk or artificial weft texture, 
the figuring, formed in twill and in floated shots, might be 
chintzed in the shutthng. Applying it to a worsted costume, 
and retaining the plain make in the ground, the prunelle 
twill in the scroll, and developing the leaf decoration in a 4-end 




Fig. 289. — ^Weft-yabn Figuring on a PlainGround. 

sateen — the design would be adapted to 2-and-l colouring in 
the warp and weft. The use of light and medium shaded 
yarns so arranged, would give the groundwork in the fight 
shade, with minute line details in a medium shade, the scroll 
in hair-fine effects in the two shades, and the stem and leaf 
forms in mixture tones. 



468 DRESS, BLOUSE, AND COSTUME CLOTHS 

263. Sateen Pattern Production. — Sateen weaves — warp and 
weft structures — have been treated of in originating designs 
on checked, mosaic, and waved bases, and their apphcation 
to decorative textures has also 'been analysed. When 
the styles of ornamentation consist of simple hnes and fine 
detail features, they are weavable in flushed shots of weft. 
A specimen of this description of patternwork is sketched 
in Fig. 290, for which a looming section is given in Fig. 290a. 
This practice is followed in the production of hght blouse 
textures and fabrics of a Japanese character. It is not, 



« 




Fig. 290. — Leaf Pattern for Weft-yarn Figubinq. 



in all points, technically satisfactory. It emphasizes the 
pattern types distinctly, but, as the warp yarns float 
loosely underneath the weft figuring, the fabric build is not 
perfect. Moreover, the bolder the development of the decora- 
tive details, the less suitable becomes the reverse side of the 
texture. By the insertion of stitching points as seen in certain 
of the fuller leaf forms in Fig. 290a, this defective feature is 
eliminated in some degree, but the frequency of the ties so 
inserted is liable to detract from the smartness and precise 
definition of the surface pattern. Still, without close setting 
in the reed, such ties, in this example, would require to be 



PRACTICE IN FIGURE DESIGNING 



469 



increased. For designs composed of minute elements pro- 
ducible in light dress and blouse stuffs, this principle of 
construction is useful, and especially should ciepe or fast 
weaves be substituted for the warp sateen used in the ground 
of Fig. 290a. 



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Fig. 290a. — {Sectional design for Fig. 290.) 

A further build of sateen fabric is obtained by the methods 
of looming, illustrated in Figs. 291a and 292 — sections of the 
point paper designs for the sketch in Fig. 291, and the silk 
satin in Fig. 3. Referring to Fig. 291a, the figuring shots 
are shown as distinct from the ground shutthng yarns. The 
latter, by interlacing sateen in the ground and plain under 




Fig. 291. — Waved-form of Pattern with Trellis 
Groundwork. 




Fig. 291a, — {Sectional design for Fig. 291.) 



PRACTICE IN FIGURE DESIGNING 



471 



the pattern lines, make the fabric structure. This is strictly 
a variety of semi-backed cloth, for on the reverse side of the 
effects marked in B's, a plain foundation is formed marked 
in Kl's, but this does not in any way impair the fulness and 



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Fig. 292. — Silk Satin Structure — Weft Ornamentation. 



sohdity of either the smaller or broader lines in the pattern. 
There is thus produced a fast-woven under surface in aU 
parts of the figuring, adding to the wearable efficiency of the 
texture. The sateen runs regularly on both the ground and 
figuring picks throughout the whole design scheme. The 
result is a weft developed pattern on a warp sateen, but with 



472 DRESS, BLOUSE, AND COSTUME CLOTHS 

the addition of plain intersections under the pattern. Several 
practices in looming are feasible, two of which are as follows — 

Piece-dyed Goofis 

Warp. 
60 's two -fold spun silk. 

Weft. 
30's spun or artificial silk. 
110 threads and shots per inch. 

Coloured Styles 
Warp. 
150 denier organzine silk shade (1). 

(1) Weft. 

1 pick of 215 denier tram silk shade (1). 
1 „ 215 „ „ „ „ (2). 

1 „ 210 „ „ „ „ (2). 

(2) Weft. 

1 pick of 210 denier tram silk shade (2). 
140 threads and 130 shots per inch. 

The first of these arrangements is for a silk production dyed 
in the piece ; the second, in Weft I, for styles with the 
figuring in a different colour from the ground ; and, in Weft 
II, for textures in which the pattern is acquired in quite a 
distinct colour from the effects in the warp yarns. Designs 
on the basis of Fig. 291, in which the field of the pattern is 
divided into geometrical forms, may be varied in weave 
structure, for such crossings as warp twill, diamond, and 
twilled mat may be applied to the units of effect in the 
ground. The weaves require, however, to be of the warp-face 
category, and to fit evenly with the sateen, otherwise they 
interfere with the distinctiveness of the decorative elements 
in the style. 

264. Pattern Diversification in Sateen Figuring. — Providing 
these manufactures are not piece-dyed, diversity of style is 
obtainable in weaving in three ways, namely : (1) by a 
distinction in the colour tone of the warp and weft yarns ; 
(2) by the formation of line stripes in the warping ; and 



PRACTICE IN FIGURE DESIGNING 473 

(3) by chintzing in two or three colours in the weft. 
Considering the appUcation of scheme (1) to Figs. 290 and 
291, in originating a texture of a medium dejpth of colour, the 
warp should be in a lighter and the weft in a deeper tone. 
The sateen ground would thus be developed in the hght colour, 
and the pattern features in a corresponding but deeper colour. 
For the second looming practice, the warp should be in two 
tints or tones, and the weft in a hghter or in a fuller hue for 
emphasizing the decorative features of the design. In the 
third practice, for giving effect to the chintzing, colours 
dissimilar in hue and also in tone should be selected. One 
of these should, however, Hnk up with the colouring in the 
warp. Assuming, for example, the warp to be a rose tint, 
the wefts might be pale maroon and greenish lavender ; or, 
if the warp should be light fawn, suitable wefts would be 
tinted brown and turquoise blue, shuttMng in such orders as 
1-and-l, 2-and-l, 2-and-2, 4-and-2, and 4-and-4, The rule to 
be observed is, that with the colour units in too close a 
relation with each other in the chromatic scale, the charac- 
teristics, due to the chintzing, suffer ; whereas if the tone 
contrasts should be super-pronounced, the quahty and style 
of both the de?ign and fabric Avould be deteriorated. 

265. Fine Sateen Structures. — To these, when made in silk, 
the term of " Figured Satins " is applied. In such manu- 
factures it is essential to acquire a sound textile structure, 
and also to develop clearly the outhnes and small effects of 
which the decorative style consists. Even the minutest 
details need to be smartly and distinctly brought out in the 
fabric, necessitating close setting in the loom, and the selection 
of weave units for the ground and the figuring in strong 
contrast with each other, such as a warp-face plan for the 
first, and a weft-face plan for the second factor. 

Considering Fig. 3 — ^page 11 — ^in this relation, it is a simple 
Une pattern composed of sprig, leaf, and floral forms in which, 
as seen from the sectional design. Fig. 292, an 8-end warp 
sateen is employed in the ground, and a special silk weft. 



474 DRESS, BLOUSE, AND COSTUME CLOTHS 

floated solid, in the weaving of the slender and delicate 
design features. Textural durabihty and firmness are 
attained by (1) the employment of two wefts-aground 
and figuring ; (2) full setting in the sley, 340 ends and 160 
picks per inch ; and (3) the scheme of fabric construction. 
The ground picks are marked in H's, and the figuring picks in 
B's. First the foundation weft and warp threads make a 
fine fabric with a warp satin face, and weft satin back ; and, 
second, the coloured weft produces {a) the pattern, and (6) 
a sub-tissue, or a regular twilled under-surface by interlacing 
with the warp in the order indicated in the intersections 
marked in l^'s. Structurally, it will be observed that this 
principle of design differs from that in Fig. 291a, for the 
figuring picks in the latter assist in weaving the 8-end sateen 
ground, but in this plan — Fig. 292 — they give a different type 
of weave, and one which is formed on the sateen base. Here 
and in aU classes of " satins," textural quaUty is the consequence 
of the fine setting, and of the types of weaves combined. 

266. Sateen Weave Figuring in Combination with other Weave 
Principles of Design. — One example of this class — Fig. 293 — 
will be described. It consists of two styles of figuring, that 
in section B, and that in section D, divided from each other 
by bands of warp twill, sections A and C. The decorative 
effects in B are woven in weft sateen on a warp-face ground, 
and those in D in floats of weft agreeing with the formation 
of the figuring hues. The surface ornament in D would be 
rendered a more prominent part of the design if it should be 
turned over and repeated, enlarging it to 96 threads. The 
design elements in B would, in this example, be flatter and 
more subdued in tone than those in D. Hence, in working 
out such designs for the loom, the textural value to be imparted 
to each grade of figuring is the factor which determines the 
kind of weave unit to employ. In assorting two or more 
decorative principles, if these are made into a striped style, 
they may— as in Fig. 293 — ^be separated from each other by 
lines of effect in simple twills, or other weaves which fit 




o < 



T 



}o 



A-> 



476 DRESS, BLOUSE, AND COSTUME CLOTHS 

correctly with the sateen but also differ from it in structural 
effect. 

267. Forrth Definition in Extra Yarn Figuring. — The use of 
extra warp or weft yarns in developing the decorative units 
enables the pattern outlines and forms to be forcibly 
emphasized and clearly delineated in the fabric. Such 
features being woven on this principle, in a special colour 
of yarn, they may be developed in solid floats or in distinct 
weave plans. This will be understood by assuming, in the 
first instance, that the decorative types in Fig. 294 are made 
in a fabric having one colour of warp yarn and crossed with 
a second colour of weft yarn, and single in build. This would 
be practicable by applying a plain or common weave to the 
ground, a weft sateen to the sections in dark tones, and a 
warp sateen to the sections in grey tones, when each would 
be distinct in effect, though somewhat indefinite in character. 
Substituting, in a second instance, a warp cord, two picks 
in a shed, for the plain, and producing the grey and black 
sections in two colours of weft, would, on the other hand, 
give the surface area of the texture in warp repp, and the 
figuring in different colours of weft yarn floated sohdly or 
in twilled order. On this system, each pick in the design 
would be taken as equivalent to two shots of weft, so that, 
in card stamping, for the effects in H's, the grey would be 
lifted with the cord interlacings in the ground sections, and, 
for the effects in grey, the black intersections would be lifted, 
with also the cord in the ground— the two shots, black and 
grey, forming one line of the design, and one repp in the 
cord. Third, by warping one thread of grey and one thread 
of black, or in two selected shades, the design would be 
produced in extra warp, if opened out on the system of the 
examples in Figs. 268 and 270a. It is evident that, by 
either of the two latter systems of design construction, the 
leaf and other pattern elements would be more effectively 
developed than by the first principle, in which their dehneation 
is the result of a difference in the weave units appUed. The 



PRACTICE IN FIGURE DESIGNING 477 

extra warp or extra weft practice provides for this form of 
differentiation, plus that due to each species of figuring being 
woven in special coloured yarns. 

268. Figuring by Colour Insertion in the Shuttling. — 



iM. 


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■"'■■,: 7-'t. 



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L-....i_.^,..L..\.... _. !:.. 



Fia. 294. ^PlGTTBING BY BXTRA-WEFT COLOUR INSERTION. 

Patternwork, by the insertion of coloured yarns, in the 
shuttling order of the fabric, is illustrated in Figs. 295 and 
296. Both are modernized styles of woven ornament based 
on the pine figure, and also on the pine scheme of design 
formation. They suggest the principles of weaving and 



478 DRESS, BLOUSE, AND COSTUME CLOTHS 

colouring utilized in the manufacture of dress fabrics in 
which the warp yarns are chiefly employed in forming the 
groundwork of the texture, and in which the pattern lines 
and features are chiefly a product of the shots of weft. It 
is in this sense that the sectional plans, Figs. 295a, 296a and 
296b, will be considered. 




Fig. 295. — Stttdy in Pine Figuring. 



The conventional leaf forms add to the decorative effect 
in the former, and the diversity of weave units combined add 
to the textural quality in the latter. Fig. 295 is woven in 
one colour of warp yarn, and two colours of weft yarn picked 
1-and-l. This arrangement simphfies the shutthng, and is 
made effective in developing the figuring by the system on 
which the colours are assorted in the looming design. The 
odd picks in Fig. 295a define the figuring when floated either 



PRACTICE IN FIGURE DESIGNING 479 

in weft cord or in weft sateen, as in section B. The even 
picks appear on the face in the cord sections, but on the 
back — stitched sateen — in the portions of the figuring formed 
by the odd picks. Both the odd and even picks produce a 
warp -sateen effect in the ground of the texture. 

B 




A 

Pig. 295a. 

In Fig. 296a both series of picks are shown, as arranged in 
the weaving of the fabric, but in the case of Fig. 295a, each 
type of effect is produced on the point paper as it would 
be developed in the loom. This pattern — Fig. 296 — ^is illus- 
trative of the richness of the decorative detail, developable 
in this class of designing and scheme of intertexture. Like 
Fig. 295, it is woven with two wefts, each intersecting 



480 DRESS, BLOUSE, AND COSTUME CLOTHS 

regularly with the warp yarns, one method of construction 
being — 

Warp. 
Blue or green 50 denier organzine silk 
40's reed 3's. 

Weft. 
1 pick of brown 60 denier tram silk and 
1 ,, ,, white. . 
240 picks per inch. 

The weave elements in the design diversify the surface 
features of the fabric, producing this in successive sections 
in a sateen, twilled mat, etc. As the fabric is two-fold weft 
ways, each pick on the point paper represents two shots in 
the weaving. Thus, in stamping the cards, the picks would 
be arranged as seen in Fig. 296b, which is an extension of the 
first four picks of Fig. 296a. Where necessary, the ties (a) 
and (c) would be inserted in cutting the cards. These are 
introduced in a similar manner as in weft-backed cloths. 
As each weft is used freely on the face of the fabric, there 
being no large masses of either colour, very few ties or stitches 
are needed. In the sectional plans, the H's represent the 
white, and the H's the brown weft. As indicated, various 
crossings have been combined, including sateen, fancy mats, 
small spotted effects, diamond makes, and warp and weft 
twills running at various angles, adapted to the floral and 
other ornamental features of the style. The pattern consists 
of three principal pine figures decoratively interlaced. The 
spaces intervening the principal figures are filled in with 
minute spots and waved, ribbon-hke fines. The specimen 
demonstrates first, the principle of acquiring pattern features 
in extra weft yarns ; and, second, that of developing the 
ground features in weave units, contrasting in effect and 
fitting correctly one with the other. 

269. Double-Weave Figuring. — While the double-weave class 
of fabric is, in some branches of textile manufacture, confined 
to the heavier descriptions of cloth, in the dress trade it is 
adapted to the production of light and even flimsy textures. 




Fig. 296. — Pine Pattern with Detail 
Ornament in the Ground. 




Fig. 296a, 




31— (5264) 



Fig. 296b. 



482 DRESS, BLOUSE, AND COSTUME CLOTHS 

The quality and counts of the yarn used, and the systems of 
setting practised, make it possible to employ compound weave 
structures in these goods without acquiring fabrics too firm 
in the handle or too thick in construction. As explained 
(Paragraph 248), these weave units give two or more layers 
of texture one over the other, but interchangeable in position. 
With the possibiUty of developing each single texture of 
which the compound weave is formed in different colours 
and quahties of yarn, it becomes practicable to use each type 
of single texture, as desired, in the ground or in the figured 
portions on the face of the cloth. This method of weaving is, 
therefore, applied first, to compound fabrics made of one 
sort of yarn and in one weave structure ; second, to compound 
fabrics in which each unit texture is composed of different 
sorts of yarn, and formed in different weaves ; and, third, 
in which the textures combined are dissimilar in colour, yarn 
quahty, and in weave composition. 

Three examples, illustrative of the designing scheme, are 
shown in Figs. 297, 298, and 299, made respectively in 
worsted yarn, worsted and mohair, and in silk and worsted. 
Fig. 297 is an ordinary double-plain structure. To produce 
the loom design for this specimen in a 192 Jacquard machine, 
the pattern would be sketched in colour on point paper, and 
weave (1) in plan A- — Fig. 274 — applied to the figured sections, 
and weave (2) to the ground. The specimen has been pro- 
duced in 2/64's worsted, arranged, in the warp, one thread 
of fight yarn and one thread of dark yarn ; and, in the weft, 
one pick of light yarn same as the warp, and one pick of 
medium-shade yarn, with 84 threads and picks per inch. 
Had the same yarns been used in the weft as in the warp, 
the pattern details would have been more pronounced, with 
the figure in a darker shade. The pattern forms might 
be further toned or subdued by weaving with one colour 
of weft intermediate in tone depth between the two shades 
of yarn in the warp. 

It should be observed that the double-plain make is the 



PRACTICE IN FIGURE DESIGNING 



483 



best adapted compound weave structure for acquiring clearness 

in the design features, and it is for this reason employed in the 

production of " reversibles " in cotton, worsted, and silk goods. 

The weaves are not necessarily constructed one thread and 




Fig. 297. — Double-plain Woven Specimen. 

one pick for the upper and lower textures alternately, but 
they may also be arranged 2-and-l, 3-and-l, etc. When 
combined on the latter systems, they are suitable for fabrics 
in which two thicknesses of yarn are used, one in the produc- 
tion of a fine, and the other in the production of a coarser 
texture, as illustrated in Fig. 298. The two textures are 



484 DRESS, BLOUSE, AND COSTUME CLOTHS 

again interchangeable from the face to the underside of the 
fabric in forming the figure and . the ground respectively. 
The weaving data for this specimen are — 

Warp. 
1 thread of 2/72's worsted. 
1 ,, „ 2/50's mohair. 
1 „ „ 2/72's worsted. 

Weft. 
1 pick of 2/72's worsted. 
1 ,, ,, 18's mohair. 




Fig. 298. — Reversible Figured Type — ^Worsted 
AND Mohair Yarns. 

The difference in the two materials employed in the weaving 
of this example, causes the effects in the mohair to protrude 
on the surface of the cloth. In some fabrics this filament 
quahty is utiHzed in developing pattern work in a kind of 
looped, buckled, or curl effect. When this is done, the 
cloths are set sufficiently wide in the loom to allow of 15 per 
cent, to 20 per cent, of contraction in width in the scouring 
and milling processes. 

Referring to the sectional plan — Fig. 298a — ^in which a 
part of the figure is sketched in grey, the mohair weft yarn 



PRACTICE IN FIGURE DESIGNING 



485 



floats 5-and-l, or interlaces plain with every third thread in 
the design, the intervening threads making a plain structure 
through the cloth. When the mohair weft is producing the 
figure, the fine mohair threads in the warp are also floated 
on the face, whereas, when the ground is being produced, 
such mohair threads and picks float on the back. This build 
of fabric gives a compact solid figure in mohak' weft — and one 
more pronounced in tone than would result if the textm-e 
were warped and wefted in the same order. 




Fig. 298a. 



In contrast with the comparatively firm grades of cloth in 
Figs. 297 and 298, the specimen in Fig. 299, composed of silk 
and fine worsted yarns, may be examined. Again the fabric 
is double in the weave, being formed of two perfectly plain 
structures, one made of silk and the other made of worsted 
warp and weft arranged thus in the loom — 

1 thread or pick of 20 denier organzine in the warp and tram 
in the weft ; 

1 thread or pick of 2/40's worsted ; and 

2 threads or picks of 20 denier organzine in the warp and tram 
in the weft ; set in a 25's reed with 4 threads in each dent. 



486 DRESS, BLOUSE, AND COSTUME CLOTHS 

The plan of construction will be understood by a reference 
to Fig. 299a. Here the grey threads and picks lettered (a) 
represent the worsted portion of the pattern, which, being 
woven plain, make a foundation for the figuring. The silk 
threads also interlace in plain order, and the design effects 
are obtained by bringing the silk texture on to the face, which 




Fig. 299. — Reversible Figured Type — S11.K and 
Cotton Yarns. 

conceals the texture made of the thicker yarn in the ground. 
In the figured portions of the design there are two separate 
or unstitched fabrics, and the looseness thus caused gives the 
silk a crinkled effect. Where no figuring is visible on the 
surface of the fabric, the plain silk structure is on the back, 
but here it is stitched regularly to the worsted yarn structure, 
and gives the delicate surface quaUty seen in the specimen. 
The tying or stitching in the ground is effected by allowing 



PRACTICE IN FIGURE DESIGNING 



487 



one silk pick in every three to weave plain with the foundation 
threads. The picks selected for this purpose immediately 
follow the ground picks, and weave in exactly the same order. 
Though this is a union fabric (silk and wool) it only weighs a 
few ozs. per yard, 27 in. in width. In making designs for goods 



HHSinSBJBffi 




of this class, it has to he borne in mind that the ornamental 
details require to be broad in character, inasmuch as patterns 
composed of fine hnes and minute ornamentation are 
unsuitable for development on this principle of manufacture. 
270. Reversible Figured Goods. — In producing the pattern 
features in double or compound weaves, the fabrics are 
reversible in colour and in surface features in both the ground 



488 DEESS, BLOUSE, AND COSTUME CLOTHS 

and tlie figured sections ; for the different species of textural 
detail, whether due to tinting or to weave elements, are 
exactly transposed in position on the two sides of the cloth. 
Examining Figs. 297, 298, and 299, each specimen has precisely 
the same design and ground characteristics on the face and 
on the back, but with the yarns and colour units interchanged. 
In Fig. 297 the ground on the under side of the fabric is in the 
darker, and the figuring in the fighter shade ; in Fig. 298, the 
ground is changed to the mohair, and the figuring to the 
worsted, texture ; and in Fig. 299, the ground is changed to 
silk, and the pattern types to the more open texture formed 
in the worsted yarn, over which the fine silk texture is visible 
as in the groundwork on the right side of the cloth. 

It should be noted that for making-up purposes this build 
and variety of fabric offers certain advantages. Both sides 
are usable, the one constituting the face, in the process of 
weaving, for the garment proper, and that constituting 
the under side for trimmings as in the collar, cuffs, etc. 
Particularly are these goods so appHcable when produced in 
pleasing colour contrasts and tones in the ground and figured 
sections, as, for example, in Figs. 298 and 299. When the 
cloths — as in structures similar to Fig. 297 — are differently 
treated in the finishing or dressing routine on the face and 
on the back, such as a " clear finish " on the former, and a 
soft " raised finish " on the latter, they are further enhanced 
in value for this method of garment making. 

271. Compound Figured Structures. — Silk and fancy figured 
designs are variable in the types of compound weaves in 
which they are producible, and also in the sorts of yarn 
used in the warping and in the wefting. The reversible 
principle is formulated on the employment of two or several 
double or treble weave structures, each producing a Hke 
build of texture. The two textures so formed into one cloth 
may be fight and dark in tone, as in Fig. 297 ; composed of 
two sorts of yarn as mohair and worsted in Fig. 298 ; or they 
may be produced in fine and thicker yarns as in Fig. 299. 



PRACTICE IN FIGURE DESIGNING 



489 



Each separate texture in these specimens is plain woven. But 
it was shown in Paragraphs 248 and 249 that the weave units of 
such textures, in multi-ply cloths, may be different, and it 
is this structural principle in designing which enters into the 




Fig. 300. — ^Fine-Set Silk Style. 



build and ornamentation of certain figured and decorative 
fabrics of the variety produced at Figs. 300 and 301, and at 
Fig. 47. The weave units selected in the construction of the 
specimen in Fig. 47 are given at Fig. 47a, and comprise plan 
(a') weft surface and plain back ; (6') and {d') broken sateen 



490 DRESS, BLOUSE, AND- COSTUME CLOTHS 



surface and plain back ; and (e') and (/') backed irregular 
cord, warp decorated. The textural surfaces resulting from 
such weave units are illustrated in the micro-photographic 
specimens in Figs. 48 to 51, and have been treated of. The 
practice here exemplified in combining compound weave 
units, is also characteristic of the examples in Figs. 300 and 
301. It enables a fast- woven texture to be acquired, rich in 
decorative style, and developed in special types of inter- 



c c 


X 

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Ci |li""H" Z"l 


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Tt X, 


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Fig. 300a. 



texture. For example, in the " all-over " floral specimen in 
Fig. 300, the leaves and portions of the flowers are produced in 
warp repp effects, with the black outlines displayed on an 
evenly formed texture in silver grey. The warp threads 
(white, 450 per inch) work in pairs, every third pair being 
separated by threads interlacing singly, as indicated on the 
point paper plans by the fines in lEI's. The figuring in white 
is produced in the two weaves at A' and B, Fig. 300a. It 
will be seen that the first and every seventh thread form a 
plain structure on the back, as also in weaves C and D. The 



PRACTICE IN FIGURE DESIGNING 



491 



warp for threads (c) is, therefore, drawn on to shafts, which 
produce the foundation part of the cloth. Further, in each 
weave two threads work together, and would be drawn in 
one mail of the harness. Picks (a) are black and picks (6) 
white. Plan A' gives a waved repp and plan B a striped 




Fig. 301.- 



-FiGURED Silk Developed in Compound Weave 
Units. 



warp cord. The dark tones in the fabric are due to picks 
(6) floating on the surface, as shown in plan C. The effect in 
the ground of the texture is obtained by weave D, which by 
healding, as indicated, two threads in a mail, produces a warp 
cord. The fine-set fabric in Fig. 801 (600 ends and 250 picks 
per inch) contains other structural features. This specimen 



492 DRESS, BLOUSE, AND COSTUME CLOTHS 

is composed of the five weaves, A', B, C, D, and E in Fig. 301a, 
and is coloured as below — 

Warp. 

900 \2 threads of fawn silk, IJ-dram organzine. 
threads. (2 ,, ,, hght ohve green silk, 1^-dram organzine. 

700 ^2 threads of old gold l^-dram organzine. 
threads. (2 ,, ,, light olive green IJ-dram organzine. 

Weft. 

1 pick of dark olive green silk, 7-drani tram. 
1 ,, ,, ecru silk, 7-drana tram. 

Though the warp is thus arranged, decisive coloured Hnes are 
not noticeable in the fabric, for the flower and other details in 
the figuring are so distributed as to conceal the junctions 
of the stripings. The weaves are more of a weft-surface 
structure than in Fig. 300. In the ground of the texture — 
Plan A', Fig. 301a — the green warp interlaces with both wefts 
to form the face, and the back of the cloth is made firm by the 
remainder of the warp threads intersecting with the ecru weft 
yarn. When either of the colours in the warp is used for 
the middle portions of the figuring, the weave plan appHed is 
that shown at B, which, in most instances in the design, is 
edged by floats of either the green or ecru weft. When the 
former is floating, plan C is employed, but when the latter, 
plan D. For the inside parts of certain of the floral forms in 
which the ground weft floats sohd, plan E is used, in which, 
as in A', C, and T), the even picks interlace 4-and-4 on the 
underside of the fabric. 

272. Matelasse Principle. — ^The matelasse principle of fabric 
structure forms one of the most useful varieties of figure 
designing. It obtains in both dress and decorative fabrics 
in Hght and medium weight goods. The textures, being 
fine-set in the warp, and open-set in the weft, may be 
economically woven. The pattern forms and hnes — Fig. 302 
— are so clearly marked as to resemble carved work. This 




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494 DRESS, BLOUSE, AND COSTUME CLOTHS 

distinctive quality of the surface ornamentation is accentuated 
by the relative counts of the warp and weft yarns, by close 
setting in the warp and loose setting in the weft, and by one 
series of picks acting as " binders," and a second series as 
*' fillers." The " fillers " or wadding shots impart the raised 
or rehef tone to the figuring, and the " binders " knit the 
outlines of the design into the foundation of the cloth. The 
specimen is typical of the manner in which the pattern features 




Fig. 302. — ^Wabp Matelasse — 
Ribbed Ground, 



are produced in clear floats of warp, with the ground formed 
in fast repp or cord. It will be observed on referring to the 
sectional plan — ^Fig. 302a — ^that the design results from the 
use of two series of warp yarns g and / — aground and figuring — 
and of three series of picks, g\ b, and 6'. The picks marked in 
lEl's, are only inserted into matelasse fabrics in which weft as 
well as warp figuring is developed. For the ground repp, the 
threads / are depressed on every third pick, but, for the warp 
figuring, they float over picks g' and b. In such figured 



PRACTICE IN FIGURE DESIGNING 



495 



portions of the pattern, the ground ends g interlace plain on 
picks b. The practice in weaving in plans so constructed is — 

1 pick of fine cotton foundation. 

1 „ „ silk for supplementary weft figuring, or the effects 

marked in lEl's ; and 
1 „ „ binding. 

With the warp arranged — 

1 thread of two -fold cotton ; and 

2 threads of organzine silk, drawn one end in a maU. 

On picks g' the cotton warp threads (healded on shafts in 
front of the harness) are depressed, and the silk warp threads 
hfted. On picks b — extra figuring weft yarn — all the silk and 






■■TBK :■■ ■■: 



m 




Fig. 302a. 

cotton threads are lifted in all parts of the design, excepting 

where these shots are used in decorating the surface of the 

fabric and where they are stitched on the back ; and on 

picks 6', the silk threads are depressed in the repp ground, but 

hfted in the figured portions, where they stitch plain with the 

cotton warp. This principle of designing, without the extra 

weft yarn, is shown in Figs. 303 and 303a. The method of 

looming for this example is — 

1 thread figuring ; 

1 ,, ground ; and 

1 „ figuring. 

The form of the effect in the texture is traceable in the 
looming plan, which is a compound of small repp and of 
broader cord effects. The foundation threads are again 




Fig. 303. 
Fancy Warp Matelasse Cord. 




Fia. 303a. 



PRACTICE IN FIGURE DESIGNING 497 

marked in H's, and the figuring or repp threads in B's, the 
specimen having been woven thus — 

Warp. 
1 thread of 60 's two-fold silk. 
1 „ „ 2/60's cotton. 

I „ „ 60's two-fold sUk. 
20's reed 6's. 

Weft. 

II picks of 2/60's cotton. 

1 pick of 10 's cotton (4 threads coixnted as 1). 
96 picks per inch. 

The picks a are wadding, or those on which the silk warp 
threads are Ufted and the cotton warp threads depressed. 




Pig. 304. 



The technique of this fabric build and of this style of pattern 
is further illustrated in Figs. 304 and 304a, one the effects as 
outhned on pomt paper, and the other the actual plan of the 
texture, as produced in the loom ; with, however, the sections 
lettered a in Fig. 304a corresponding to those in Kl's, in Fig. 
304. 

The sections marked in H's would, in the fabric, be floats 
of weft, those lettered a soUd floats of warp, and those marked 
in lEl's, ottoman rib. How these several effects are acquired 
is apparent on a closer analysis of the design. For example, 
the ground or repp effect is due to the odd picks depressing 
the face warp, and to the even picks floating under the face 

32— (5264) 



498 DRESS, BLOUSE, AND COSTUME CLOTHS 

warp in such sections of the pattern as the repp is formed. 
This impUes that the face warp is down and up alternately, 
every thread working ahke in aU the unfigured parts of the 
fabric, an arrangement insufficient to make a warp rib or 
cord. The ground or foundation warp threads, by interlacing 
one up and one down, or just the reverse of the face warp, 




Fig. 304a. 



are necessary to develop the repp characteristic. To make 
an ottoman repp or sohel, two warps are required, the face 
warp being closer set then the backing warp, and not so well 
tensioned as the latter. In weaving, the face warp is hfted and 
the ground warp depressed, and a thick pick introduced into the 
shed thus framed. Next, the gromid warp is hfted, and the face 
warp depressed, and a small-yarn pick interwoven. These 
are the weaving conditions in Fig. 304a, and also in Figs. 



PRACTICE IN FIGURE DESIGNING 499 

302a and 303a, when the repp features are being produced. 
The weft figuring on this repp ground is acquired by floating 
the face weft over a certain number of figuring warp threads, 
and also by flushing over the same group of threads the ground 
weft. To get the figuring in warp, the face yarns are allowed 
to float over both the ground and figuring picks. 

When various weave effects are required in the development 
of the figuring, they are shown on the looming plan, as in the 
sectional design. Fig. 305. Here the ground of the texture 
would be in repp, portions of the figuring in warp twill, and 
portions in a broken twill, showing that decorative patterns 
are weavable in different weave units, and with the surface 
effects in a raised quahty as in Figs. 302 and 303. This 
example is drawn to the scale on the point paper of the fabric 
setting, or of 3 ends of warp to 1 pick of weft in the loom. 

273. Shading Practice in Figuring. — Ordinarily, the repro- 
duction on a textural surface of decorative forms in fight 
and shade does not result in fitting styles of ornamentation. 
It is essential that, in originating figured effects in textiles, 
the fabric should be aUke level in structure and in appearance. 
With the designs composed of shaded objects, the figm-ing is 
observed to be more or less detached from the ground of the 
texture. Sectional parts of the decoration are in shaded tones 
and others in rehef, whereas all parts should be visually and 
actually in the same plane. 

Every variety of fine and feature, in natm-ahstic or in 
geometric forms, may, however, be faithfully depicted in a 
textural product, either in monochrome or in colour. The 
principles of warp and weft interlacing, and of coloured-thread 
and coloured-shot insertion in weaving, admit of reahsm in 
design expression. The delineation of decorative elements in 
fight and shade is, therefore, feasible on woven as on other sur- 
faces — ^porcelain, paper, etc. When shading is, however, 
practised in textiles, it is rather with a view of expressing 
pattern details clearly and effectively than with a view of 
an exact imitation of floral, plant, and other forms. 



500 DRESS, BLOUSE, AND COSTUME CLOTHS 

It follows that, without tone contrasts, a description of 
shaded patternwork is possible in the loom. Thus, in develop- 
ing shaded ornamental types, gradations in warp and weft 



w 



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Fig. 305. — Pine-Set Matelasse Pattern. {Section only.) 



intersections correspond to gradations in dark and light tones. 
The ordered or symmetrical grouping of these — as in sateen 
weaves, Fig. 90 — correspond, in textural definition, to the 
results obtained by stipling, painting, and printing on a 
smooth, plain material. The shaded portions of the style 



PRACTICE IN FIGURE DESIGNING 501 

in Fig. 286 are not due to any difference in colour tone, but to 
a difference in tlie degree in which the weave units employed 
bring the warp or weft features on to the face of the fabne, 
The deeper tones are formed in weaves of a weft-face structure, 
with intermediate degrees of tinting or toning composed of 
intermediate types of weave. 

274. Scale of Intersections.— A& between the dark tone and 
the hght tint of a colour, intermediate tones and tints are 
producible, providing the " scale of shades " in such a colour 
unit, so in weaves between the extreme warp-face and the 
extreme weft-face effect, as in sateens, twiUs, diamonds, etc., 
a " scale of gi'adations " in mtersection types is obtamable. 
This is shown in the shaded diagonal in Fig. 90, in which 
the weaves run from a ivarp effect— giving a hght tone m the 
texture— to a weft effect, producing a deeper tone m the 
texture or vice versa. With the weft intersections prmted 
in black, and the warp intersections in white, the shading 
due to the changes in the weaves a, b, c, and (i— aU 
constructed on the same sateen base— is clearly observed. 
The softness and fuU graded quahty of the toning vary with 
the dimensions of the weave base. The 8-shaft sateen allows 
of seven degrees of toning, the 10-shaft of nine, and so on. 
A tone degree is equivalent to a wai-p or weft intersection, 
hence the gradations or shading in the design is prescribed 
by the weave units selected. 

The use of other weaves than sateens and twills in developmg 
shaded tones in one colour is iUustrated in Figs. 286 and 306. 
In the design in Fig. 286, the shading is produced m weaves 
of a twilled mat character, but in the rectangular sections of 
the style in Fig. 306 it is developed in a diamond type of 
crossing. The diamond weave in the upper portions of the 
figuring has a maximum weft float, covering fifteen threads 
of warp, and in the lower portions a minimum float of three. 
The tinted gradation is obtained by increasmg the repp mter- 
lacings surrounding the diamond elements, in which respect 
the practice differs from that of acquiring textural tone in 



502 DRESS, BLOUSE, AND COSTUME CLOTHS 

warp and weft-face weaves by modifying the system of 
intersection. As a principle of " weave " shading it is adapted 
to light textures, and also to compound fabrics in which the 
yarns, when floating on the face to form the extreme weft 
effects, are bound regularly into the central part of the 
structure. 

Weave shading is harsher in tone in the coarser, and softer 
in tone in the finer, set fabrics. The intersection tones are 
also modified by the depth of contrast between the shade or 
colour of the warp and weft yarns, but it should be clearly 
understood that colour contrast is not an essential part of 
the shaded patterns in textiles as in other decorative ornament. 
Obviously, in pure white yarns, or in yarns of exactly the same 
colour in the warp and weft of the design, weaves symmetrically 
varied in the order in which they give a warp and weft effect 
develop a toned textural surface. Shading in woven design 
may, therefore, be analysed either as distinct from, or as 
associated with, tone modification as a product of fight and 
shade. It constitutes a scheme and practice in weaving 
which enables decorative effects to be accurately formed 
minus contrasts due to colour tinting and toning. 

275. Looming Structure — Shaded Designs. — ^In the work of 
transferring the sketch on to point paper of designs in which 
the figuring is executed in fight and shade, the weave units 
are accordingly combined to agree with each gradation in 
tone. The dark tones in the drawing are equivalent to weaves 
of the maximum weft intersections, and those in fight tones 
to weaves of the maximum warp intersections (or conversely), 
with the intermediate tones in the sketch corresponding with 
the intermediate weave structures. 

This method of work is practised in preparing all varieties 
of shaded patterns for the loom, and is observed in the trans- 
ference of the different effects on to point paper in Figs. 307, 
308, and 308a. Thus taking Fig. 307, the small, conventional, 
floral forms comprised, are, first, clearly defined and distin- 
guished from each other in weave composition ; second, the 



PRACTICE IN FIGURE DESIGNING 



503 



darker tones are developed in sateen ; third, the outlines of 
the flowers are produced in weft floats ; fourth, the structural 
termini of the leaflets are formed in twilled hnes ; and lastly, 
the shadows and veins on the leaves are expressed in warp 




Fig. 307. — Elementary Type of Shaded Pattern. 



floats and reversed twills. The correct transference of the 
sunflower type — sectional part of the design shown in Fig. 
308 — on to point paper imposes the selection and use of a 
larger assortment of weave units. It comprises extreme Hght 
and extreme dark tones. The primary feature to determine 
is how to acquire these two effects. Taking the 8-end weft 
sateen to represent the former, and the 8-end warp sateen to 



504 DRESS, BLOUSE, AND COSTUME CLOTHS 

represent the latter, a basis of work is estabKshed. Having 
correctly sketched the decorative forms on point paper and 
to scale, the outlines are developed in weft Unes in perfect 
conformity with their structure. The more sohd or darker 




■HrbnAa 






&fcS^R^;S^S^"sC\ - V V- V 



s,r"!MM:s!s:.«."*":;" : . ■ 



.-:«5,-55::k!:„""! ..<■ 






Tn^ 



5i^S«:S--i ■■:■■." „. . 




Fia. 308. — Section of Shaded Floral Design. 



sections are next treated, as, for example, the central portion 
of the flower, and the stronger lines in the petals. Then 
follows the definition of the fine and slender details in correct 
schemes of intertexture. 

In the third illustration — Fig. 308a — (one figure of a butterfly 
pattern, with eight figures in a repeat each differently depicted, 
and weavable in silk warp and weft yarns) the shading of 



PRACTICE IN FIGURE DESIGNING 



505 



the extremities of the wings is developed in weft sateen. 
The same weave is employed in forming the head, body, 
and feelers of the butterfly. The half-tones in the wings are 
expressed in common twiU, in which the dark and Ught colours 




Fig. 308a. — Sbctign of Butterfly Pattkbn. 

applied in the warp and weft would be equally commingled. 
For developmg these tones in keeping with the dehcate 
markings on the wings, the twiUed hnes are run in two direc- 
tions, and joined up with, or mellowed into, the other weave 
ingredients in the design. The still more dehcate hnes in the 
figure are formed in small weft interlacings, again fitting with 
the warp sateen, which gives the smooth, soft texture of the 



506 DRESS, BLOUSE, AND COSTUME CLOTHS 

wings, and allows of these being distinguislied from each 
other in special weave units. 

While the original sketches for shaded textiles may faithfully 
represent, in tiating and toning, natural and other forms, for 
looming purposes the composition of the sketches is simplified. 
The elemental features are preserved and strengthened, but 
unnecessary lines and tones are eliminated, leaving the 
patterns structurally adapted for reproduction in a woven 
fabric. 



CHAPTER X 

PILE, LAPPET AND GAUZE STRTJCTUEES 

270. — The Characteristics of PUe Manufactures, 277. — Two Systems 
of Pile Looming and Weaving. 278. — ^^-^elveteens. 279. — Pibbed 
Velveteens. 280.— Weft Plushes and Curls. 281.— Semi-Curl Effects. 
282.— ^Spotting in Weft Plushes. 283.— Curl Spotting— Lambskins. 
284. — ^Warp-pile Principle — Velvet and Terry. 285.— Weave Plans 
for Warp Pile Goods. 286. — Astrachans — ^T\^arp Principle. 287. — 
Warp Tensioning in Pile Weaving. 288. — ^Varieties of Figured-Pile 
Fabrics. 289. — Printed Pile-Warp Figm-ing. 290. — Terry Figuring. 
291. — Terry Pile Figuring on a Crepon Surface. 292. — Velvet or Cut 
PUe Figuring on Twilled Grounds. 293. — Lappet Wea\'ing. 294. — 
Swivel and Lappet Effects. 295. — Lappet Effects in Light Textures. 
296. — ^^\''ork of the Lappet Frames. 297. — Two- and Single-Frame 
Patterns. 298. — Gimped and Waved Designs, 299. — Gauze Princi- 
ples of Intertexture. 300. — Cross-thread Featiu-es — Healdtng Methods. 
301. — Pight and Left Whip-Thread Drafting. 302. Celhilar Cloths. 
303. — Light Fabrics — Perforated in Structure, 304. — Muslin Striping 
with Gauze Lacing Threads. 305. — Sateen and Gauze Striping. 
306. — Checked Gauzes. 307.— Extra-Weft Spotted Gauze Textxires. 
308. — ^Warp Figxiring in Gauze Patterns. 309. — Harness Designs in 
Gauze Fabrics. 

276. The Characteristics of Pile Manufactures. — In the dress 
trade, pile-woven goods comprise velvet, frise, velveteen, 
cordui'oy, lambskin, and light plush fabrics ; and also a 
variety of fancy and figured textures in which portions of the 
surface are plain, twill, or sateen, and other portions formed 
in velvet, looped, or feathery features. A pile fabric is one 
in which the ground warp and weft yarns are covered with 
either a fibrous fur or shag, or with buckled, coiled, looped 
threads. The former may, as in the velvet, project in vertical 
fine from the structural foundation, or it may be laid, as in 
certain long filament j)lushes, on the face of the cloth. The 
latter type of pile may consist of compacted series of bended 
or looped threads as in t^rry and frise manuf actui'es, or it may 
consist, as in woven astrakhans and lambskins, of curled-yam 

507 



508 DRESS, BLOUSE, AND COSTUME CLOTHS 

effects. Each variety of pile conceals the ground yarns 
employed in weaving. Velvet and velveteen — ^in which the 
pile may closely resemble the fur of the beaver — are illus- 
trative of the cut-pile principle, and curls and frises of the 
looped pile principle of intertexture. 

The length of the pile is varied with the quahty and 
apphcation of the manufactures. In both the silk and cotton 
velvet, the pile is of the shortest and closest character. In 
plushes the pile is longer and less dense, and in curls the pile 
differs, in closeness of structure and also in measurement, with 
the thickness or counts of the specially-prepared yarns in which 
it is developed. 

Quahty in woven fur is necessarily determined by correctness 
of manufacture, but, in a particular sense, in velvets, velveteens 
and corded velvets, by the fineness, density, and length of the 
fibres of which the pile is composed. Inferior classes of texture 
may be finished to present the gloss and smoothness of a 
fabric of a better construction. This is feasible because a 
velvet pile, comparatively loose in formation and consisting 
of longer filament than that of a thick-set pile, develops, when 
laid in the dressing process, a high degree of lustre and softness. 
Thus, the length of filament in velvet and velveteens may 
be made to impart visible, but not actual wearing value. 
Density of pile, combined with fineness of fibre, are the 
features which produce the most satisfactory grade of these 
textiles. 

277. Two Systems of Pile Looming and Weaving. — ^Pile goods 
are acquired on two systems of fabric construction and 
manufacture known as the warp and as the weft schemes of 
looming and weaving. Velvets and looped plushes are 
examples of the first, and velveteens and ribbed velveteens 
of the second practice. The warp-pile textures are two 
or multi-ply in the warp, and the weft-pile textures two 
or multi-ply in the weft. To produce the warp-pile, one 
series of threads is interwoven with the weft to give 
the ground of the cloth, with a supplementary series 



PILE, LAPPET AND GAUZE STRUCTURES 509 

of warp ends passing over wires, automatically inserted 
into and automatically withdrawn from the sheds in the 
warp during weaving. To produce a weft-pile, one series of 
picks forms, with the warp ends, the gromid cloth, and the 
supplementary series floats loosely but regularly on the 
surface, the floats of the weft yarn thus formed being severed 
after the piece is woven. 

278. Velveteens. — Cotton velvets form the more elementary 
type of weft-pile fabrics. The principles of their manufacture 
will be understood from the weave structures at A, B, C, D, 
E, and F, Fig. 309, in each of which the picks marked in 
lEl's make the foundation cloth, and those marked in Vs the 
pile or plush. It will be observed that the latter interlace plain 
or in simple twilled order. The object of this is to provide 
" thread races " for cutting, enabhng a perfect pile, or one 
closely resembhng the pile got by the uses of wires, to be 
developed. This arrangement of the warp threads in the 
weave also reduces the " races " to a minimum number in any 
build of weft-pile textm'e. The " race " positions in the plans 
are indicated by the arrows. Fig. 309a is the weave employed 
in the production of the hghter makes of velveteens. It is 
arranged one pick of ground and two picks of floating yarn, and 
only allows of this yarn passing over three successive warp 
threads. In plans B and C, the order of shuttling is one pick 
ground and three picks pile, with the pile picks floating over 
five threads, and with a plam ground in B and a fine twiUed 
ground in C. A fuller and longer pile is obtainable by the 
use of weaves D and E, again plain and twiUed in the ground, 
but with the pile shots in D covering seven threads, and in 
E nine threads. The double binding of the picks in the latter, 
as seen at the points in Vs and in H's, has the effect of making 
a fast pile, or one secm^ely stitched into the ground. Another 
method of construction apphed in producing the heavier 
descriptions of fabric, and in which mohair or cotton yam 
is appUcable in the pile weft, is that given at plan F. The 
pile picks cover nine threads, and are stitched in 5-end sateen 



510 DRESS, BLOUSE, AND COSTUME CLOTHS 



si 



\\i\\l?. 



N 



+ i t 'h 
Plan A. 





::i: 


i . .. 




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:!: 


i - II 


.i- 


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X- 


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Plan D. 



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Plan B. 



Kl 



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Plan 0. 



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Plan E. 



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Pl^N F. 



Fig. 309, A to F {Marks = Weft) — Velveteen Plans. 

order, with six picks of pile to each shot of ground weft, 
suitable looming particulars for this example being — 

(1) Warp : 2/30's cotton, 32's reed 2's, 
Weft : 30 's cotton, 

500 to 540 picks per inch. 

(2) Warp : 2/34's cotton, 
Weft : 20 's mohair, 

72 threads and 250 to 300 picks per inch. 

Velveteen-pile goods are heavy wefted cloths, and require the 
warp yarn to be of a good strong quality, and the warp 



Fig. 310. — Specimens of 



' Cut " AND 

COKDS. 



Uncut " Velveteen 



512 DRESS, BLOUSE, AND COSTUME CLOTHS 

shedding to be accurate and true. Positive tappet looms 
(Woodcroft or Beaumont and Hill principles) are employed. 
As they are weft-face fabrics, they are not difficult to shed, 
but the warp is well tensioned to admit of the pile picks being 
forced into the closest possible relation with each other. 

279. Bibbed Velveteens. — ^In weaving ribbed velveteens or 
corduroys, the scheme of construction, hke that in velveteen, 
results in a fii'm ground cloth — ^plain or twill woven — on the 
upper side of which the pile yarns are floated in bands or 
stripes lengthways of the textures. The appearance of the 



.1:1:1:1:1:1 
i^i:i:j-i:i: 

ST B 

Ei:i:i3ocJ 



Plan A. 



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Plan C. 



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Plan D. 



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Plan E. 
Fig. 311, A to F {Marks = Weft) — Corded Velveteen Plans. 



Plan F. 



cloth in the loom, and also when cut, is shown at A and B in 
the specimen in Fig. 310. The pile picks produce tunnels of 
surface yarn between the binding points c and d, which are 
more clearly defined in the " cut " than in the " uncut " 
sections of the sample. These surface layers of yarn vary in 
compactness and in width with the make and style of the 
cloth produced. The system of weave construction will be 
evident on examining plans A, B, C, T>, E, and F, Fig. 311. 
The ordinary type, with a plain foundation, is shown in weaves 
A and B, giving cords or stripes of fom- and eight threads, 
respectively, and woven one pick of ground to two picks of 
pile in A, and three picks of pile to one of ground in B. 



PILE, LAPPET AND GAUZE STRUCTURES 513 

The " thick-set " variety of cloth is shown at C, Fig. 312, 
for which the plan is shown at C, Fig. 311. In this weave the 
picks marked in [o]'s pass over one and three threads. The 
standard fustian cord— specimen A, Fig. 312— is obtained 
in plan D, Fig. 311, and in such weaving particulars as 2/24's 
cotton warp, 34 ends and 200-400 picks of 20's weft per 
inch, varying with the weight of cloth required. Genoa 
cords— specimen B, Fig. 312— are woven in the weave illus- 
trated at plan 31 1e, with the picks floating over six and 
eight threads, and the fabrics manufactured in similar yarns 
and setting as the fustian cord. " Constitution " cords are 
broader ribbed velveteens, made in plans arranged as at 31 If, 
in which the pile picks, marked in K's, are singly stitched, 
and those marked in [ol's double-stitched. Spotted and 
simple-figured cords are also produced by reversing the 
positions of the two series of picks or of the ground and floating 
weft yarns ; so that where the spotted features are developed, 
the pile picks are taken on to the back of the fabric, while the 
structure, formed by the ground warp and weft, is brought 
on to the face. 

280. Weft Plushes and Curls.— On the weft-pile principle of 
intertexture, plushes, with a straight or vertical pile, or curls 
of the astrakhan varieties, are weavable. The pile is neither 
so closely made nor woven in such fine counts of yarn as in 
cotton velvets and cords. Mohair and similar sorts of yarn 
take the place of the cotton pile weft, and woollen as well as 
cotton is employed in forming the ground of the cloth. For 
fabrics in which the ground is cotton and the plush mohair, 
the weave structures are arranged as in plan A, Fig. 313. 
The pile picks are grouped two-and-one with the foundation 
picks and interlace in sateen order, the 5-end make having 
been extended in the threads, and so planned as to allow of 
these shots being twice stitched, and of their floats covering 
seventeen threads. The "race" positions for cutting are 
shown at the foot of the plan. 

Other methods of construction are illustrated in Figs. 313b 

33— (5264) 




Fig. 312. — "Fustian," "Genoa" and "Thick-set" Cords. 



PILE, LAPPET AND GAUZE STRUCTURES 515 

and C, the first producing one length and tlie second two 
lengths of plush. The picks marked in Ms, in plan C, float 
over nineteen threads, and those marked in H's over twenty- 
three threads. Such plans are usable in making curled goods 
of either a light or medium weight. The curl characteristic is 
acquired by employing mohair yarn, which, prior to winding 
for weaving, is wrapped on broaches, and either steamed or 
boiled for two or more hours. 

The pieces in the loom have a level surface, but on the pile 
picks being cut in the places indicated on the designs, they 




:s:s:i? j?js;s:s:g!s5!3 



t t 

Plan B. 



s:3 



i-i B tj N UWfi 



MMM 



!=! 



t f 

Plan C. 



Fig. 313, A to C- 



-Pij^NS FOR Weft-plush or Weft-curl 
Fabrics. 



buclde, curl, or loop. Assuming, for illustration, the warp to 

be 2/30's cotton and the weft, for plan B, one' pick of 18 skeins 

wool and two picks of several-ply mohair yarn, and for plan C, 

Fig. 313— 

1 pick of woollen, 

1 ,, ,, mohair shade (1) 

1 (2) 

^ «> 5J 55 55 \^) 

1 (2) 

■■• 55 55 55 55 \'^ ) 

the ground of the textures would be plain-woven — cotton and 
woollen — and the curl features would be developed in mohair 
yarn. The number of picks per inch depends on the quality 



516 DRESS, BLOUSE, AND COSTUME CLOTHS 

and fulness of pile required ; but, in all cases, a firm, fast 
ground cloth is essential. To ensure this with, say, 32 ends 
per inch in the warp, there should be a similar number of 
ground picks, giving in plan 313b, 96 picks, and in plan 313c, 
160 picks ]Der inch. The frequency with which the ground 
shots are inserted binds the pile (which, when cut, would, in 
a loose texture, be liable to draw out) securely to the cloth. 
This method of weft setting is applied in producing the straight 
plush, when the shots per inch must be in keeping with the 
density of pile desired. In curls, however, the picks per inch 
are reducible, as portions of the ground of the fabric may be 
visible or only partially covered with pile yarn, and for this 
effect thick yarn is used in the pile, with the picks per inch 
proportionately decreased. Should, for instance, the curls be 
of the larger variety and formed in a thick yarn, or should 
they be thinly distributed on the surface and formed in long 
floats, the woollen yarn used for the ground may be made to 
develop a special feature on the face of the fabric. 

281. Semi-Curl Effects. — The use of curled mohair or lustre 
yarns, admixed with cotton worsted and woollen yarns, results 
in looped and buckled effects being obtained in the woven 
manufacture. Even providing the mohair is used as spun, 
cockled and semi-curled textural details are producible. 
Thus, in Fig. 298 — Paragraph 269 — these details are shown to 
be due to the inequalities in shrinkage value of the worsted 
and mohair threads of which the cloth is made. One of the 
textures of this compound cloth consists of the former, and 
the other texture of the latter yarns, the two textures inter- 
changing from the face to the back position in the production 
of the design. It was pointed out that, in the scouring treat- 
ment the worsted texture contracts evenly, and the mohair 
texture more expeditiously but unevenly, so that in the process 
the mohair is drawn into a napped or cockled structure. 

Curliness in single-make fabrics — non-plush woven — ^is obtain- 
able by selecting prepared or unprepared mohair yarns and 
using these in the weft, with Botany worsted yarns in the 



PILE, LAPPET AND GAUZE STRUCTURES 517 

warp. The designs are constructed on the weft principle of 
figuring, with a warp-face weave in the ground for giving a 
level cloth, and also one in which the intersections of the 
weft are barely traceable. In the specimen given of this kind 
of imitation plush in Fig. 314, the warp yarns are 2/60's 
worsted, the weft yarns 2/32's mohair, and the ground weave 
Y^ twill. The pattern is woven in floated weft yarn, the 
flushes varying from three to twelve threads in length. With 
the floats grouped in regular compact order and covering a 
fair proportion of warp threads, they give the raised, waved 
effects, R. When the floats are arranged irregularly and in 
spotted and detached sections, they produce a species of 
minute curl, C. The difference, however, between this quahty 
of looped textural surface and that acquired in weaves of a 
special structure. A, B, and C, Fig. 313 — is quite marked. 
There is strictly, in the ordinary compound make of cloth — 
Fig. 314 — no evenly developed curHness. The mohair weft 
yarns remain uncut in the piece, or, as shuttled, whereas, in 
weft plushes, the floats are severed, so that the free ends 
and the picks form into curls of a definite size and frequency 
on the surface of the fabric. 

282. Sjpotting in Weft Plushes. — For spotted and mottled 
patterns in weft plushes — either in straight or curled pile — 
the pile shots are alternately floated on the face and regularly 
bound into the make of the cloth. The specimen of " straight," 
" spread," or " cut," pile texture in Fig. 315, is produced in 
2/24's cotton, and wefted two picks of cotton, one pick of 
woollen, and one pick of thick mohair. The picks of the 
design — Fig. 315a — printed in ^'s are cotton, those in H's 
woollen, and those in B's in mohair yarn. The woollen picks 
give a weft-face effect, and are intended to be in a bright 
colour to tint the groimdwork of the plush, and also to conceal 
the cotton warp and weft. The pile spottings are planned 
on the 6-end sateen base, the shots marked in I's representing 
the black mohair picks in the specimen, and the shots marked 
in 0's the white mohair plush yarn. Both yarns float equally, 



PILE, LAPPET AND GAUZE STRUCTURES 519 

or over thirty-one ground threads. This length of flush 
yields a good depth of pile. Surface brushing, when the piece 
is in a steamed condition, has the effect of straightening and 
laying the tufts of fibres of which the pile consists in this class 
of manufacture. 




Fig. 315. — Weft Plush — Two-colour Style. 




Fig. 315a. — Weave for Fig. 315. 



283. Curl Spotting -Lamhshins. — In spotting in two or several 
colours in Ught curl textures of the lambskin character, the 
designs are constructed as seen in Figs. 316 and 317. These 
are the reduced or looming plans. The complete healding 
draft — Fig. 316a — ^is supphed for the first plan, and a section 



520 DRESS, BLOUSE, AND COSTUME CLOTHS 

of the healding draft — Fig. 317a — for the second plan. The 
two plans differ in structural arrangement. Fig. 316 is woven 
two picks of ground yarn and one pick of curled or flush yarn, 
and Fig. 317 two picks of ground yarn, one pick of small 
flush yarn — double six-end sateen, printed in H's — -and one 
pick of thick curl yarn, printed in H's, Opening out the two 
weaves in accordance with the healding drafts, would show that 
the ground picks interlace plain, and that the single inter- 
sections on the curl picks in Fig. 316 are equal, in the texture, 
to three and the double intersections to six 
stitching points ; while, in Fig. 317, the double 
intersections are equal to four and the treble 
intersections to six binding points in the cloth. 
When the plans are thus extended, the longer 
flushes in Fig. 316 cover forty-three, and the 



" " sc! 


\ izie 








;;i :. 




ot 3 


rri n 






1 




! Z E E E 






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3 £ e c i 


* S 










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1 


, ^ B5: 


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rri r 








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C 3e 3 


55::: 




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C C T 


: ; 3z ! 


3S ;:: 








... 


? :s? : 


ss ::. 






Fig. 316. 



Fig. 316a. 



Weave and Draft — Curl and Lambskin Textures. 



shorter flushes thirty-seven threads ; and, in Fig. 317, the 
longer flushes cover forty-three and the shorter flushes 
twenty-one threads. 

The designs are producible in such weaving data as given 
below — 

Fig. 316 
Warp : 2/30's cotton 
24's reed 2's. 
Weft : 2 picks of 2/30's cotton 

1 pick of 8's worsted 

2 picks of 2/30's cotton 

1 pick of 8's worsted. 

2 picks of 2/30's cotton. 

1 pick of 6's mohair (six threads as one) 
84 picks per inch. 



PILE, LAPPET AND GAUZE STRUCTURES 621 



Warp 
Weft : 



Fig. 817 
2/24's cotton 
22's reed 2's. 
2 picks of lO's cotton 
1 pick of 12's worsted or 2d skeins woollen 
1 pick of 6's mohair (six threads as one) 
96 picks per inch. 

It will be noted that lambskins and loose-set curl textures 
of this character are not wefted on the principle followed in 

producing a full, close plush. It 
is not the object in these manu- 
factures to make a close, dense 
pile but to spot the surface of the 
fabric with bright curls at inter- 
vals. The mohair yarns are used 
for spotting and the worsted or 
woollen yarns for developing the 
naj^p or curl filament effects. 
Hence the two yarns in the 





t i * * 




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Ill 




COc23ccooaooa535 5oacc333 


2S j j j;;i liii'.i'.i 




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III 




o^ScfiQaa SSHSq^SS SSaSSSSa 






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5 0C0055a 2C3DO?J3 SSSZSS33 


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035335:0 fioSaaaja ai^cojaa 






Fig. 317. Fig. 317a. 

Weave and Draft — Curl and Lambskin Textures. 

designs are flushed differently. With the idea of obtaining 
a close ground napp in Fig. 316, the worsted yarns float 
to the greater degree, conceaUng the plain cotton structure, 
and maldng a pile of fibre on which the lustrous yarn is 
formed into distinct curls. On the other hand, in Fig. 317, 
the lustrous yarn floats to the greater degree, and the worsted 
yarn is employed for giving a fuU, short napp in the ground. 
The curls in this example are developed in inverted tmlled 
Unes or in simple details transposed. 



522 DRESS, BLOUSE, AND COSTUME CLOTHS 

These fabrics, and the many varieties of woven lambskins 
of which they are typical, are made in light and dehcate 
shades, frequently white or cream in the ground. Coloured 
mohair yarns, especially in light tints, are also used for 
spotting, but while they result in diversity of textural style, 
they somewhat detract from the lambskin quaUty of the 
cloths. 

284. Warp-Pile Principle — Velvet and Terry. — As explained, 
in all classes of weft-pile goods the plush is formed by floating 
certain picks in the weave structure on the right side of a 
firm-woven cloth. By cutting the floats of these picks in 
the thread " races " longitudinaUy, and after the pieces 
leave the loom, the pile quahty and character are obtained. 
In all classes of warp-pile goods the plush is formed in the 
warp and in the actual process of fabric production. The 
special warp yarns, used for this purpose, do not float 
loosely at intervals on the face of the cloth in a hke manner 
to the picks flushing over groups of warp ends in the weft-pile 
manufactures, but pass over wires, the latter being inserted, in 
a prescribed order into definite sheds in the warp. Such 
wires take the place of picks of weft, but mihke ordinary 
picks or shots, they are withdrawn when the pile ends have 
been bound by the ground picks securely to the fabric. 

In making a cut or velvet pile, the knives at one end of the 
wires sever the threads of warp transversely as they are 
forcibly removed from out of the sheds of warp ; or grooved 
wires may be inserted and a knife run along the groove for 
cutting the pile ends and converting them into short lengths 
of filament, vertically projecting from the foundation cloth. 
For making a terry pile, the threads, on the withdrawal of the 
wires, form loops of yarn serially arranged from selvedge to 
selvedge of the piece, the depths of the loops being 
proportionate to the kind of wires employed. 

In either case, it is the passing of the selected warp threads 
over the wires, and the binding of them, on either side of the 
wires, into the texture, which produces the pile. This being 



PILE, LAPPET AND GAUZE STRUCTURES 523 

so the quality of pile-its length, closeness and richness- 
depends, first, on the gauge and depth of the wires ; second, 
on the frequency of the insertion of the wires into a given 
portion of the cloth ; and, third, on the set of the fabric and 
the counts and variety of the pile warp yarns employed. 

285. Wmve PUns for Warp-pile Goods.— The textural plans 
for warp-pile plushes are compound in arrangement, but 
elementary in construction. For making a terry or velvet 
plush, the weave is that shown at A, Fig. 318, in which threads 
G are the ground and threads P the pile warps, picks 1, 2 and 
3 being the ground weft, and W the sheds for the wires. 





G- 


^^^0 


w 

J 


1 


^^Vto^ 


1 


1 


WM^i 



^1 



o3« 



-o ox Tl^ „oX 

o o>a o o ..o < 



mm ^mm 



G \G \ G 1 G I 

pi p2 pi p2 

PLAN A. PLAN B. 

Ftg. 318.— Warp-plush Weaves.— (M«r7.s = Warp lifted). 

It will be seen that all the pile-warp ends are lifted and all 
the ground-warp ends are depressed for the insertion of the 
wires ; and that the pile yarns are domi on picks 1 and 3, or 
on the picks following and preceding the mres. Further it 
will be observed that, mthout the wires being reckoned, ^the 
pile yarns interlace r4^ ; the odd ground threads ^r-y- ; 
and the even ground threads tVi' ^' suggesting the 
looming practice for velvet textures in this class of weave 
structure, the foUomng particulars are given— 

Warp : 1 end of two -fold cotton, 

1- „ ,, silk (two or more threads in a mail) and 
1 ,, ,, two -fold cotton. 

Weft : 1 pick of cotton, 

1 ,, ,, worsted, and 
1 „ „ cotton. 



524 DRESS, BLOUSE, AND COSTUME CLOTHS 

The silk warp, when not making the pile, is floating two-and- 
one on the underside of the fabric, and crossed with a worsted 
weft, a method of intersection which adds to the neatness 
and softness of the reverse side of the cloth. 

Plan 318b is for a plush of two varieties — length and colour 
— of pile, threads P^ making one class of pile, and threads P^ 
the other. On the wires W*, the ground threads and the pile 
threads P ^ are depressed, with the pile threads P^ lifted ; and 
on wires W ^ the ground and pile warps G and P ^ are depressed 
and the pile warp P^ lifted. As in plan 318a, the pile yarns 
are covered by the shots of weft immediately preceding and 
following the wires for binding them into the fabric structure. 
The pile threads P^ interlace -^^"a— and the pile threads P^ 



121' o^ the reverse of each other. The ground plan produces 
a 2"^ weft mat on the back of the fabric, with the pile yarns 
interlacing with the mat threads. A method of looming for 
this order of weave — Fig. 318b — is indicated below — 

Warp : 4 threads of two -fold cotton 

1 thread of pile yarn (silk or mohair) 

for Wires W^. 

2 threads of two -fold cotton 

1 thread of pile yarn (silk or mohair) 

for Wires W^. 
Weft : 2 picks of cotton 

Wire W^ 

2 picks of cotton 

Wire W^. 

286. Astrakhans — Warp Principle. — The curl effects, in 
warp-pile astrakhans, consists principally of looped yarn, but 
the mohair threads of which they are formed are not neces- 
sarily cut as in weft-curl fabrics. The practice yields a good 
wearing quality of curl surface, or one in which the curls 
retain their consistency longer, and more closely resemble 
natural fur, than in the weft production. The curhness is 
developed in the mohair threads, prepared, as previously 
described, by passing them over wires and fastening them 
regularly into the cloth. The dimensions of the curls are 



PILE, LAPPET AND GAUZE STRUCTURES 525 

fixed by the size of the wires, while the method in which 
the surface of the cloth is covered with the curl effects is 
controlled by the weave plan. This is constructed on the 
system shown at plans A, B, and C, Fig. 319. The number 
of ground threads between the pile or curl yarns differs with 
the closeness of the curls, and also with the variety of cloth 




ox o o5q °^ 
o o _jo o xo 



Plan C. 



Plan B. 
Fig. 319. — Astrakhan Weaves. — [Marls = Warp liflcd). 

manufactured. In plans A and C there are four ends of ground 
to one end of pile yarn, but in hghter textures the proportion 
of ground threads is further increased. Plan A is the standard 
weave in maldng medium weight goods to which such weaving 
data as the following are appUed — 

Warp : 2 threads of 2/30's cotton (double) 

1 thread of 12-dram Biohair 

2 threads of 2/30's cotton (donble) 
1 thread of 6-dram mohair. 

Wefl : 6's cotton 

30 ends and shots per inch. 



526 DRESS, BLOUSE, AND COSTUME CLOTHS 

The relative lengths of pile and ground warp yarns for giving 
a full curl in this setting should be approximately as three 
is to one. 

Plan 319b is illustrative of a second form of construction, 
that of floating the pile yarns over a larger number of picks, 
and of providing for a longer structure of curl. It is the type 
of weave usable when the mohair yarn is printed in two shades, 
such as black and white, for developing the curls in mingled 
colouring. 

The curl features may, on the warp principle of weaving, 
be formed in both looped and cut pile as in plan C, Fig. 319. 
be formed in both looped and cut pile as in Fig. 319c. Here 
two Idnds of wires are used — ^W^ and W^ — ^for cut and 
to be better stitched than those passing over W^. But this 
rule is not always observed, for in some makes of these fabrics 
the pile yarns are stitched on the same system for both the 
curl and looped effects. 

In two-pile effect cloths the character of the plush is varied 
with the order in which the two types of wires are inserted in 
the weaving practice. 

287. Warp Tensioning in Pile Weaving.- — The tensioning 
and delivery of the warp yarns, in pile and plush weaving, 
require to be accurately adjusted. The ground warp threads 
are wound on to one beam, and each sort of pile warp yarn 
on to a different beam. The tension of the first must be 
uniform and considerable to admit of the construction of a 
level and firm cloth. That of the pile yarns should also be 
fixed throughout the operation of weaving, yet the yarns 
should be intermittently released and tightened for the wiring 
and beating up of the picks of weft. As the wires are carried 
forward by the going part pressing against them, the pile 
yarns are allowed to take up a length equivalent to the 
dimensions of the wires. For the movement of the going 
part, when shutthng the gromid picks, the pile yarns are 
normally tensioned. If the yarns are over-tensioned in the 
wiring, the pile produced has a tendency to draw out. If 



PILE, LAPPET AND GAUZE STRUCTURES 527 

insufficiently tensioned, the pile has a tendency to become 
irregular on the surface. Further, if the pile yarns are incor- 
rectly tensioned for wefting, they become imevenly interlaced 
on the back of the fabric. In the production of goods having 
two or more lengths of pile, each sort of pile yarn is run off a 
separate chain beam. In figured pile fabrics, in which the pile 
yarns take up differently in the weaving process, they are 
dehvered off double-ended bobbins mounted in a creel, and 
each bobbin, or miniature beam, is friction-braked. 

288. Varieties of Figured Pile Fabrics. — The principal 
varieties of figured pile fabrics include — 

(1) Velvet Pile and Cut Plush Fabrics, with printed pile 
warp yarns for developing the pattern or design features. 

(2) Fabrics with an Ordinary Textural Ground and 
Terry or Frise Figuring. 

(3) Fabrics with a Simple Weave Ground and Cut Pile 
Figvning. 

(4) Fabrics with a Terry Pile Ground and Velvet Pile 
Figuring or vice versa. 

(5) Fabrics with a Sateen, Repp or Soliel Ground, and with 
the Figuring in both Terry and Cut Pile. 

(6) Fabrics in which the Figuring is developed in different 
heights of pile — looped and cut — and with various weave 
structures forming patterns in the ground. 

Different schemes of manufacture are ajjplied in producing 
these classes of pile goods, which are suitable for mantle as 
well as dress fabrics. The methods of construction adapted 
to the lighter makes of cloth will be considered, and so far as 
they are comprised in Classes (1), (2), and (3). 

289. Printed Pile-warp Figuring. — This principle of pattern 
production is practised in the manufacture of velvets and 
plushes of the simple scheme of construction. The surface 
effects, both as bo pile quahty and as to pattern style, are 
varied and rich in composition. The build of the fabric is 
usually of the character illustrated in Figs. 318a and b. 
The velvet pile specimen — Fig. 320 — ^is producible in plan 




Fig. 320. — Pbinted-warp Velvet. 



PILE, LAPPET AND GAUZE STRUCTURES 529 

A with 120 ground, and 60 double-pile ends per inch. The 
design in this example, and in similar descriptions of velvet 
or plush, is of the irregular blotched description of figuring 
so well adapted for getting features, in a pile surface, 
suggestive of the shaded toning in natural furs. In originating 
the patterns, all the effects, such as those observed in black, 
white, and grey tones in Fig. 320, are first di'awn in colour 
to fabric scale on point paper. Second, the effects, on each 
thread in the design thus drafted, are next elongated to the 
dimensions of such effects in the ivarp-yarn scale, and the 
design so extended gives the printing scheme. 

This method of manufacture and of pattern development, 
lends itself to the expression of the types of decorative detail 
suitable for cut pile goods, whether of the velvet or of the mo- 
hair plush variety. The velvet structure is used in dress goods 
and the plush structure in mantle cloths, the latter also in 
heavier builds of plushes for wraps, rugs, etc. The cut-pile 
system of weaving imparts softness of toning to the variegated 
forms in the figuring. 

290. Terry Figuring. — This is one of the simplest classes of 
figured pile production. It mil be considered in relation to 
the textural examples in Figs. 321 and 323, one having a 
twiUed ground and woven in worsted yarns, and the other 
having a silk crepon ground with the pile effects developed in 
worsted. The pile or plush may be obtained in a different 
colour of yarn from that apphed to the ground portions of 
the cloth, but such is the distinctive character of the pile 
figuring from the twilled or other ground surface of the texture, 
that it is sufficient to emphasize the design elements in 
both coloured and piece-dyed goods. 

The plan of construction of the example in Fig. 321 is given 
in the sectional designs Figs. 322a and b. As the marks in 
these plans, and also in those of the series of plans illustrative 
of figured pile designing, represent weft intersections, it wiU 
be understood on examining weaves A and B that when the 
pile yarns in these textures are not being utihzed in forming 

34— (5264) 




Fig. 321. — ^Tebry-pile Figuring on a Twilled 
Worsted Ground, 



PILE, LAPPET AND GAUZE STRUCTURES 531 

the figure, they are stitched regularly on the under-surface. 
Thus, in plan A, Fig. 322, all the threads of both the pile and 
ground warps are depressed on the wire shots, W, with the pile 
yarns P interlacing y^, and stitched to the -^^ twill ground as 
in a warp-backed cloth. On the wire sheds in j)lan B all the 
pile yarns are lifted, and all the ground warp yarns depressed, 
with the pile and ground threads intersecting with the shots 





3;^^^^ 






p p p p 

Fig. 322. — Sectional Plans for Fig. 321, 
{Murks = Weft Intersections.) 



of weft on the common princi2)le of warp-pile construction, 
or that given in weave A, Fig. 318. The weaving practice 
adopted in making this type of figured teriy is — 



Figs. 321 and 322a and b. 

Warp : 1 thread of 2/60's worsted shade (1) (ground) 
1 thread of „ „ „ (2) (pile) 

1 tliread of 2/60's „ „ (1) (ground) 

96 threads per inch. 

Weft: 2/60's worsted shade (1) 

64 shots per inch exclusive of wk-es. 



291. Terry Pile Figuring on a Crepon Surface. — In illustra- 
tion of the apphcability of terry figuring to further classes of 
dress goods, the crepon ground texture in Fig. 323 will be 



532 DBESS, BLOUSE, AND COSTUME CLOTHS 

examined. It is made in silk and worsted yarns, arranged 
as below — 

Warp : 1 thread of 60 's two-fold silk (crepon yarn), 

1 ,, ,, 2/60's worsted (terry and backing yarn), 
1 ,, 5, 60's two -fold silk (crepon yarn), 
108 threads per inch. 

Weft : 2 picks of 60 's two -fold silk, 

1 pick of 2/60's worsted, 

2 picks of 60's two-fold silk, 
1 pick of 2/60's worsted, 

1 wire. 

72 picks per inch, exclusive of wires. 

The crepon effect in the gromid or in portions C of the 
design is woven in a plain silk texture over a plain worsted 
texture. In the terry effect (marked in Ws, and in grey in 
Fig. 323a) the silk threads intersect plain and the worsted 
X^^T between the wires. Further, on the wire shots W 
in the crepon parts the pile and the ground threads are on the 
underside of the structure ; whereas, in the terry parts, the 
pile threads are lifted and the silk threads are depressed. 
The pile yarns, when not figuring on the surface, are making, 
as shown by the intersection marks in H's, a plain texture 
"with the worsted picks. It follows that while the face of the 
cloth consists of a plain silk ground and worsted pile figure, 
the back of the cloth is plain in construction in the worsted 
yarns under the crepon effect, with a plain intertexture in 
both the worsted and silk threads under the pile effects. The 
figuring in this specimen is in one colour of yarn, but here, 
and also in Fig. 321, the pile yarns may be in two shades 
arranged one-and-one, etc., should a mingled tinted pattern 
be desired. The relative lengths of the pile and ground warp 
yarns in Fig. 321 are as 12 is to 5|, and in Fig. 323 as 6 is to 
3|. To develop the pile in too long a loop is not a satisfactory 
practice. It should make a clearly defined terry effect so that 
this may cover the ground of the cloth, but the loops should 
be firm and close in structure. 




v«'> 






534 DRESS, BLOUSE, AND COSTUME CLOTHS 

292. Velvet or Cut Pile Figuring 07i Twilled Grounds. — The 
pile method of d.eveloj)ing the figuring on a twill or common 
weave ground is illustrated in Fig. 324. For the ground, 
worsted yarns are used as in the example in Fig. 321, but these 
are warped and wefted to give a tartan plaid or check, the 
order of colouring for the checldng being — 

Ground Wakp and Weft — Fig. 324 
12 threads of 60's two-fold sUk white, 



64 


? 5) 


2/60's worsted green, 


16 


5 ») 


2/60's worsted heliotrope, 


8 


, ,, 


60 's two-fold silk gold, 


32 


, ,, 


2/60's Worsted green, 


16 


? •) 


2/60's worsted black, 


32 


, ,, 


2/60's worsted green, 


8 


? J? 


2/60's heliotrope. 


8 


, 55 


60's two-fold silk gold, and 


84 


5 55 


2/60's worsted heliotrope. 



The looming arrangement for this example is as follows — 

Warp : 2 threads of 2/60's worsted, coloured as above, 
1 thread of organzine silk, 3 threads in a mail, 
64 ground and 32 threads (3 as 1) of silk per inch. 

Weft : 2/60's worsted, coloui'cd as above. 

64 picks -per inch exclusive of wires. 

Density of pile is got in this setting by having three threads of 
silk drawn through each mail of the harness, giving the 
equivalent of 96 single ends of silk per inch in the velvet 
figuring. The scheme of weave construction is sketched in 
Fig. 324a. Here, as in the plans for Fig. 321, the pile yarns 
in the ground of the fabric (section G) stitch on the back, but 
the pile yarns in the velvet (section V) cover the wires regularly, 
being stitched on the picks, intervening the wires, with the 
ground ends intersecting alternately ^ and y^. In this 
fabric the length of the silk to the worsted yarn is as three to 
one, giving a soft quality of velvet in the figuring. 

It will be observed that the cut pile (compare Figs. 320 and 
324 with Figs. 321 and 323) develops the pattern in a richer 
textural surface than the loop or terry pile. Either one or 
the other of these principles of looming may be worked into 



*- '-v/m/MM w/f//. 



i ■^,;* 



i V 



; ''; f 






^ . ijtaj-/^ • 






''// 



a- 






Specimen with T/ 



FIG. 32-=!-. 
J OR Plaid Worsted-V-" 
T-PiLE (Silk; Figuring. 



G ROU N D 



PILE, LAPPET AND GAUZE STRUCTURES 535 

striped styles, having successive lines in the designs in twill, 
silk figuring, and in pile. 

The fourth, fifth, and sixth schemes of fabric construction 
for figured pile designing are different forms of elaborating 
the principles defined, and are applied more especially to 
goods produced for the mantle trade. 

293. Lappet Weaving. — The use of lappet frames (see 
reference on page 21), operated in front of the sley or reed, 
provides for the decoration of the surface of the fabric with 
a supplementary series of warp threads. These are run off 
special chain beams conveniently tensioned. The control 
mechanism for the frames is of two Idnds, that of a shaped 




G V 

Fig. 324a. Sectional Plan for Fig. 324. 

or grooved cam wheel as employed in Glasgow and the districts 
in which this class of weaving is cliiefly practised ; and that 
of lattice lags revolving on a cyhnder, and in which the sections 
in the lags actuate the levers of different lappet frames. The 
concentric grooves of the lappet wheel determine the pattern 
lines as described by the whip threads on the face of the 
texture ; wliile the number of grooves on the face of the wheel 
corresponds to the number of lappet frames employed. The 
order and length of the pegs inserted in the lags have a similar 
function as the eccentric forms in the lappet wheel, fixing 
the stroke or lateral displacement of the frames. 

The frames in either system of control are studded with 
sharply pointed pins from 1 to 1| inches apart, through the 
eyes of which the lappet threads pass. Immediately behind 



536 DRESS, BLOUSE, AND COSTUME CLOTHS 

the frames is fixed a shuttle guide or a pinned stave, against 
which the shuttle runs. This guide, and also the frames, 
have an up-and-down reciprocating action. On the formation 
of the shed they rise, enabling the pins in the frame to hft 
the whip threads so that they form part of the upper half of 
the shed. Picking takes place at this juncture, after which 
the frames and the shuttle guide are lowered, the pins and the 
frames passing in the operation below the warp hne or " race " 
of the going part, and allowing of the sley, in the rear of the 
shuttle guide, to force the shots of weft into position in the 
fabric. The frames are thus made to effect the lifting of 
special warp ends, causing such ends to become units in the 
upper portion of the shed, and further, to interlace with the 
picks of weft. In this respect they have a similar movement 
to the heddles or harness. They do not, however, bring the 
whip ends into a position where they are covered by the 
picks, but into a position where the picks float under them, 
and bind or stitch them into the make of the fabric. The 
texture is constructed by the ordinary shedding units, with 
the effects formed by the lappet ends spread and stitched on 
the face of the fabric thus woven. 

For the decorative effects, or for the development of the 
pattern produced by the whip threads, the frames are laterally 
displaced at stated periods, and as determined by the control 
mechanism. This displacement occurs when the lappet 
frames are out of the warp, that is, when they are below or 
above the warp hne. Either of these practices may be 
followed, for the frames may be mounted over or under the 
warp, but the latter position offers advantages in weaving, in 
so far as the attendant can repair broken threads, etc., as 
readily as if the loom were ordinarily geared up. 

294. Swivel and Lappet Effects. — In some senses, lappet 
patterns resemble those producible by swivel shuttles. They 
are added decorative elements and may be inserted into the 
cloth in detached or spotted units, as in sections A and B and 
C and D of the lappet specimens in Figs. 326 and 330. Whereas, 



PILE, LAPPET AND GAUZE STRUCTURES 537 

however, the SAvivel is a shuttUng apphance and produces the 
design by means of extra shots of weft which interlace with 
the warj) yarns in the same way as in making a common 
fabric structure, the lapjDct is j^urely a ivarp principle of inter- 
texture. The design forms are developed by the lappet yarns 
being stitched, after traversing a definite width of the cloth, 
into the groundwork. Fig. 325 is a magnified specimen of 
a plain, cotton texture, swivel spotted. Part A is a section 
of the face and part B a section of the reverse side of the 
pattern. Here the swivel picks S are seen to intersect the 
warp ends in plain and also in flushed order. On the right 
side of the texture only the spotting details are visible, but 
on the underside (part B) the traihng shots, when not used 
in maldng the face effects, are observed. In lappet work the 
spotting threads, though warp, run in a line with the picks 
of weft when producing the decorative effects. They do not 
interlace in plain, twill, or other order with the picks, being 
merely stitched by them to the fabric. As in swivel weaving, 
these pattern-producing yarns may trail Icosley between 
one row of pattern elements and another, or as they would 
in developing the spottings in Fig. 330. With the frames 
operating from the lower position, on the completion of one 
series of such spottings, they are withdrawn from the warp 
and retained inactive until required for making the second 
series of figured details. By this arrangement, the floating 
ends, between one row of effects and another, are on the 
reverse side of the cloth. Hence, after the piece is woven 
these loose ends may be cut off, leaving the spotting edges 
perfect. 

295. Lappet Effects in Light Textures.- — On this principle of 
figuring and spotting hght-woven textures — mushns, crepe de 
chine, and gauzes — as well as firmer makes of fabric, may be 
ornamented. Moreover, the lappet patterns may be either 
loosely or closely designed and constructed, and yet produced 
on a dehcate and compactly-interlaced structure. This is the 
case in the example given at Fig. 11, Chapter I, where a 






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Fig. ;52', Part B. — Swivel-woven Specimen. 



540 DMESS, BLOUSE, AND COSTUME CLOTHS 

cotton muslin (80 ends and 52 picks per inch) is decorated with 
a comparatively thick-yarn pattern, made by the employment 
of three lappet frames, one for striping A, a second for hnes B, 
and a third for the waved types C, between the two hnes of 
effects A and B. 

While lappet patterns are restricted in character and style 
of figuring, the method of their production is economical as 




Fig. 326. — Two-frame Lappet-woven Specimen. 

compared with that of extra shuttling. Whether the efiEects 
are in one or in two or more colours — (Figs. 326, 329, 330, and 
332) — they involve no additional weaving cost beyond that 
due to the use of two or three lappet frames. The actual 
cost of fabric production is limited to the set and build of the 
cloth and to the mounting comprised in the use of several 
whip-yarn beams and lappet frames. 

As seen from the specimens, the pattern features appear to 
have a weft structure though developed by warp threads. 



PILE, LAPPET AND GAUZE STRUCTURES 541 



They closely resemble needle or stitched work, the whip 
threads bending at the edges in a gimped or vandyked way. 
Textural decoration, rather than precise design definition, is 
obtained. Certain simple pattern 'forms are producible, but 
these are strictly stitched surface work. It is this factor 



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which gives the lappet principle of design its distinctive 
toning, and renders it pecuharly suited for the Ughter makes 
of blouse textures in both cotton and silk yarns. 

296. Work of the Lap;pet Frames. — For each form of effect 
a lappet frame requires to be employed — each frame, and the 
whip threads which it receives, being under a separate scheme 



542 DRESS, BLOUSE, AND COSTUME CLOTHS 

of mechanical movement. This will be evident on referring 
to Fig. 326, for which the design is sketched on " dent " 
paper at Fig. 326a. The waved striping A and the spotted 
striping B are here different in formation, hence one frame 
with the traverse of the lines seen in section A of the plan, 
and a second frame with the traverse of the lines seen in 
section B, would be employed. The smaller frame movements 
correspond with the shortest horizontal lines (equal two dents in 
Fig. 326a) and the larger frame movements correspond with 
the longest horizontal, lines (equal 15 dents). The double 
action of the whip threads, first, in traversing given widths 
of the fabrics and acting as shots of weft ; and, second, in 
rising, when the course of the thread is changed, and acting 
as threads of warp lifted for binding with the shuttle yarns, 
is now apparent. In this design, one whip thread controlled 
by one needle in the frames gives the effects in A, and a 
second whip thread controlled by a needle of the second frame 
gives the effects in B. The number of repeats of the effects 
is therefore the result of the number of pins in the respective 
frames, and of the width of the piece. The accurate mounting 
and gauging of the needles are important technicahties. The 
bars or frames are measured and marked according to the 
dimensions of the pattern repeat in the set of the reed. In 
employing several needle bars, the spacing of the combined 
sets of needles is denoted on a lath of the same length as the 
bars. On this improvised scale, the position in the loom of 
each frame is marked, which enables their relative setting to 
be correctly established. 

297. Two- and Single-Frame Patterns.— SNiih. one frame 
simple varieties of figuring, such as that illustrated in Fig. 
327, are workable. In this example the connection of one 
row of details with a successive row by the whip thread 
describing the zig-zag line obviates the cutting away of 
otherwise loose yarn between the spottings, and produces 
an additional decorative feature in the cloth. Whatever 
arrangement of lines is possible within the movements from 











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544 DRESS, BLOUSE, AND COSTUME CLOTHS 

centre to centre of a frame, such lines are transferable on to 
the fabric surface. The order and grouping of such Unes 
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also be made on the same principle as ordinary warp and 
weft patterns by taking each thread on the point paper as 
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Fig. 328. 



frames, is, however, changeable with the fineness of the ground 
texture, and the sort of lappet style desired. 

Two frames provide for the production of reciprocating 
pattern forms or for the production of diamond and lozenge- 
shaped figures. An illustration of this type is given in Fig. 
328, which suggests the basis on which the style in Fig. 11 
(Paragraph 16, Chapter I) is constructed. The configuration 
of the initial fines in this specimen is first determined, as in 
originating diamond figures, and second this line is inverted 
by the action of the second frame, weaving the two effects 




FIG. 329. 

Two-Frame and TwoColour 

Lappet Texture. 



I 



PILE, LAPPET AND GAUZE STRUCTURES 545 

in one or two colours, or with two or more lines in one colour 
and a third Une of effects in another tint of lappet yarn. Style 
diversification is acquired by using differently coloured whip 
threads in each frame. Fig. 329 has been thus produced, the 
waved Une A being in gold whip yarns, and the waved Une B 
in white whip yarns. Taking the pattern lines to be the 




Fig. 330. — Lappet and Swivel- woven Texture. 



same in character, if the Unes were coloured in separate tints 
the design composition would be greatly varied. Moreover, each 
series of pattern features, such as A or B, Fig. 329, may be 
differently tinted. For the effects A, two or more colours of 
whip yarns are usable, producing the same design details in 
distinct tones in the fabric. Colour assortment and grouping 
on this system may be practised in modifying the effects of 
any particular scheme of frame movements. 

298. Gimped and Waved Designs. — Gimped and waved-Une 
types of design are shown in Figs. 330 and 332. Those in the 

35— (5264) 



II 



p 



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i: 



PILE, LAPPET AND GAUZE STRUCTURES 547 

former, with also a sectional part of the spotted striping, are 
outlined on dent paper at Fig. 331. The dotted line, connecting 
the two spots together, is the portion of the whip thread 
which would be removed after weaving. By employing a 
front and back frame the duphcated waved line stitching, at 
C in Fig. 332, has been acquired. Another characteristic 




Fig. 332. — Lappet and Gauze Striping. 



noticeable in this specimen is the crossed whip-thread features 
in portion D, resulting in an effect similar to that obtained in 
gauze heald-shaft mountings. Where the spaced Hnes occur 
in this pattern — ^formed by allowing vacant reeds in the 
sley — ^the whip ends of the two frames come together without 
crossing, whereas, in the intermediate portion of the striping, 
the lappet ends bind with each other. More accentuated 
waved Unes than observed in this example, are fashioned by 



548 DRESS, BLOUSE, AND COSTUME CLOTHS 

using a special cord yarn. This yarn is not bound into the 
fabric by being crossed with the weft, but is secured thereto 
by the lappet end with which it is combined. The latter 
moves in the formation desired, or as fixed by the plan, and 
carries the cord yarn with it. 

Several methods of diversifying lappet styles, in addition 
to that of originating new pattern forms, are practised — ^first, 
different coloured whip threads may be employed on the 
same frame as explained ; second, the spacing of the needles 
may be modified giving one repeat of the pattern in broader 
features than another ; third, in multi-frame designing the 
relative positions of the needles in the frames may be inter- 
changed ; fourth, particular frames may be rendered inop- 
erative for definite periods in weaving ; and, fifth, two or 
three of these practices may be amalgamated. 

299. Gauze Principles of Intertexture. — As pointed out in 
Paragraph 15, Chapter I, in the gauze principle of weaving, 
certain threads of warp are made to partly ^^Tap or twist 
round adjacent threads of warp singly, in pairs, or in selected 
groups. What actually occurs in the weaving of the fabric 
is the lifting of the " doup " or " whip " threads on the 
respective sides of the stationary or standard threads, and the 
binding of the two sets of warp yarns in this relation by the 
shots of weft. Leno is commercially a texture in which the 
open effect is apparent, but not necessarily a gauze structure 
as understood by the raising of the " whip " threads in 
alternate order on each side of the stationary threads. In 
the leno, as strictly defined, a plain pick is inserted between 
each cross-binding of the threads, whereas, in the true gauze, 
there are no such plain interlacing picks, but only the picks 
inserted into the cross sheds of the warp. 

The fundamental principle of intertexture, in gauze weaving, 
is for the picks of weft to cover all the stationary ends — or, 
inversely according to whether the texture is woven face or 
back up — and to float under all the doup or crossing threads, 
as seen in the sketches of the gauze and cellular make of 



PILE, LAPPET AND GAUZE STRUCTURES 549 

fabric at F, Figs. 334 and 335. The cloup threads D in both 
these textures are bound to the ordinarj^ warp threads S, by 
rising successively on the right and left of the latter, and by 
the picks securing them in these positions.* 

300. Cross-Thread Features — Healding Methods. — To obtain 
these cross-thread results, a particular form of duplicated heald 
is employed, that shown at H^, Fig. 333a, and the threads of 
warp are healded in a special way. The doup or shp is attached 
to the front standard H^, and may be operated independently 
of, or in combination with, this shaft. In the " bottom doup " 
arrangement the shp heald is connected with the lower portion 
of H^. Both the upper and lower shp-heald arrangements are 
largely employed. A drawback in " bottom douping " is 
that the fabric is produced reverse side up, and should the shp 
healds break, repairing is not so conveniently done as in " top 
douping." Moreover, with the top doup the fabric is woven 
face up, rendering faults and irregularities in weaving at once 
visible. In addition, the angle of the threads formed in 
developing the cross sheds is less acute in the employment of 
the top than of the bottom doup, and this reduces the strain 
on the warp yarns in the construction of the cloth. 

The method of healding, and plan of construction, are 

exemphfied in Figs. 333 and 334, and also in the sketch of the 

shaft mounting for plain gauze in Fig. 333a. Referring 

to Fig. 333, the ordinary threads S pass under the 

vibrator, slackener or easer V, and over the warp rest WR, 

thence through the healds of the regular heddle H^. The 

doup threads D pass over the vibrator V and WR, through 

the healds of the back standard H*, under threads S and 

through the doup healds H^. The warp yarns are thus divided 

into two classes, those healded straight or threads S, and those 

double-healded or threads D, with the doup ends crossed under 

the stationary ends between the back standard H*, and the 

front standard and shp or doup, shafts H- and H^. The 

* Gand's Coura de Tissage, Nesbit's Orammar of Textile Design, and 
Schams' Handbuch dcr Weberei contain useful diagrams of Gauze Mountings 
and Textures. 



W.R 




D S D S D S 
Fig. 333. — ^Gauze Mounting and Fabric. 



PILE, LAPPET AND GAUZE STRUCTURES 551 

lifting of the back standard jDrc duces an " open " shed with 
the threads D raised on the right of threads S, or it produces 
the shed for pick 1 ; and the hfting of the front standard 
produces a " cross " shed with the threads D raised on the 




Fig. 333a. — Heald-shaft Mounting — Plain Gauze. 

{With tfireadf I) drawn through threadu IP and W.) 

left side of threads S, or the shed for pick 2. Necessarily, 
in forming the " cross " sheds there is more strain put on the 
warp than in forming the " open " sheds, and in order to ease 
the formation of such sheds, the slackener or vibrator V is 
raised with the front standard and shp shafts. This is shown 
in the weave plan indicated on the lines corresponding to 



552 DRESS, BLOUSE, AND COSTUME CLOTHS 

shafts H^, H^, H^, and H*, and also on the Une of the vibrator 
bar V, Marks, representing " Mfts," give, on pick 1, the sUp 
H^ and back standard H^ raised ; and, on pick 2, the doup 
and front standard shafts, H^ and H^, and the slackener raised. 




ID' 

S S' S S' 

FiQ. 334. — Healding Draft and Plan of Cellular Fabric. 

301. Right and Left Whip Thread Drafting. — When healding 
or drawing -in the warp, the doup threads may be passed either 
to the left or to the right of the stationary threads in the 
intervals between the back standard and the front standard ; 
or such threads may be alternately passed on one or the other 



PILE, LAPPET AND GAUZE STRUCTURES 553 

side of the stationary threads. In the arrangement for tlie 
two-pick in a shed cellular cloth in Fig. 334a (warp 2/30's 
cotton, weft 15's cotton with 30 threads and 50 picks per inch), 
the doup threads are healded in both directions relative to 
the ordinary warp threads, or as sketched in the diagram of 
the mounting for the cloth at Fig. 334. Here threads S pass 
through the healds of H^ (ordinary heddle), and the douping 
threads D through the healds of H^ (back standard) underneath 
and to the right of threads S, and the doup threads D^ through 
the healds of H^, and under and to the left side of threads S^. 
Left and right intercrossing of the threads in this manner 
gives a double curve to the doup yarns and yields a cellular 
cloth structure. As in Fig. 333 the weave plan — Fig. 334 — is 




Fig. 334a. — Ceixular Cloth. 



shown on the heddle and vibrator hnes. This shows H^, H"^, 
and V as hfted for making the cross sheds or picks 1 and 2, 
and H^ and H^ as Hfted for the reverse sheds or picks 3 and 4. 
302. Cellular Cloths. — A variation of the cellular type of 
fabric is sketched in Fig. 335. It is weavable in the same shaft 
mounting as Fig. 334a, but with a different order of shedding 
and shutthng. Picks 1 and 2 correspond in interlacing with 
the same picks in Fig. 334, but on picks 3, 4, 5, 6, and 7, the 
doup, as weU as the stationary threads, are intersected plain. 
For obtaining these effects it will be observed that in the 
plan the back standard is Hfted with the doup shafts on picks 
3, 5, and 7, and the regular heald shaft Hfted on picks 4 and 6. 
From the diagram it will be understood how the gauze structure 
may, as required, be combined with a plain-woven structure. 



554 DRESS, BLOUSE, AND COSTUME CLOTHS 

It should be noted that the practices in healding and in 
shedding described involve the reeding of each group of 
yarns, making the gauze effect, in one dent. The open 




S S' S S' 

Fig. 335. — Diagram of Cellular Make of Gauze Texture. 

character of the gauze is emphasized in special makes of 
textures by allowing vacant dents between different sets of 
gauze ends. 

303. Light Fabrics — Perforated in Structure. — It is now 



PILE, LAPPET AND GAUZE STPUCTURES 555 

evident that cross or gauze weaving enables fabrics of a semi- 
transparent, as of a more or less perforated structure, to be 
produced. In the ordinary build of cloth, compactness or 
closeness of thread interlacing is synonymous with firmness 
of cloth construction or build. The greater the frequency 
with which the threads of warp interlace with the shots of 
weft, the higher the tensihty and wearing strength of the 
fabric woven. To modify or impair these conditions implies 
the production of a lighter, but also of a more flexible and 
flimsy make of texture. As the interstices between the crossing 
of the yarns become better defined, the more readily may the 
threads be unravelled and disarranged. 

On the gauze principle of textural formation, visible spaces 
occur between the warp and weft threads, and yet the fabrics 
are firm, fast, and durable in character. The lacing, gauze, 
or leno yarns in the warp, intertwine (as explained in Para- 
graph 299) with adjacent threads, and form in the cloth a 
species of netted or honeycomb effect. The texture may be 
gossamery and flimsy as in the gauze musUn, but the threads 
retain their normal positions under tension, friction, and 
strain. The ordered arrangement of the yarns, as fixed in 
the process of weaving, is more prominent than in the common 
types of fabric. For this reason leno threads are inserted 
into light goods for preserving the lines of the pattern, 
especially when these lines are obtained by combining closely- 
interlaced with loosely-interlaced or unintersected details, 
as in the check specimen in Fig. 336. There being no warp 
threads in parts C and D of this fabric to intercross with the 
weft shots C^ and D^, if the picks were not bound at the edges 
of lines A and B by leno-woven threads, they would be easily 
disturbed and made to leave, in the wear of the fabric, the 
positions assigned to them in the process of weaving. The 
higher crossing efficiency of the gauze, as compared with the 
ordinary principle of thread interlacing, is seen in this example, 
where the gauze threads compactly bind or knit the edges 
of the open or loosely-woven pattern features. 



556 DRESS, BLOUSE, AND COSTUME CLOTHS 

In fine silk and cotton goods, as also in cloths made of 
thicker yarn counts, the gauze practice is adapted to the 
manufacture of fabrics with a pierced structure and successively 
close and open in thread composition. 

It is this possibility of making a well-arranged and 
permanent fabric build which is open in character or with 
spaces between the crossing of the threads, which renders the 
leno scheme of looming so effective in producing the hghter 
varieties of woven manufactures. Three examples of such 
goods are given in Figs. 337, 338, and 339. Section A of the 
first specimen contains 36 ends per inch of 2/80's cotton, 
wefted with 40's single cotton and 60's silk, with 62 picks 




Fig. 386, — Check with Sections edged with 
Gauze Threads. 

per inch. As a texture, it is perforated and apparently flimsy 
in structure, but in reality quite as durable as the closely set 
stripe B with 140 threads per inch. The method of thread 
interlacing is that of the simple gauze (Fig. 333) so that the 
intertwining of the warp yarns for the insertion of the picks 
of weft laiits the two thread units into a fast make of fabric. 
The employment of 2/20's cotton yarns, and crossing them 
on the system indicated in Fig. 338, bends the shots of weft 
out of the true horizontal fine, and leaves open spaces between 
both the threads of warp and the picks of weft, resulting in a 
texture composed of semi-circular pattern forms. The plan 
of construction here is that shown in Fig. 338a. Two pairs 






n I 

CO h 

• i 






Fig 338. — Open gauze Structure. 




DS SD D'S' S'D' 

Fig. 338a. 



558 DRESS, BLOUSE, AND COSTUME CLOTHS 

of doup threads, D, D^, wrap with pairs of standard threads, 
S, S^, in interchanged positions, and also in two directions as 
denoted in the healding draft and plan, and as observed in 
the specimen. In parts A, Fig. 338, the crossing threads 
are bound by eight shots of weft, and in parts B by picks 
alternately intersecting with the threads. It follows that in 
section B the picks are separated and spread, while in section 
A they are compacted and forced into waved-line contact with 
each other. As the two sorts of textural effects counter- 
change with each other in the length and width of the fabric, 
successive close and open interlaced features result. The 
example is illustrative of the extent to which the picks of weft 





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Fig, 339. — Netted Effects in Gauze Texture. 

may be drawn out of the straight-Hne position in cross weaving, 
and also of the degree of thread spacing producible in an 
evenly formed and symmetrical make of cloth. 

The textural elements described in reference to Figs. 337 
and 338 are solely due to the gauze principle of intersection, 
but in Fig. 339 plain effects alternate with leno or gauze 
ejBfects. The grey stripings, being in plain, and the white 
stripings in gauze, the whip threads permit the curved dis- 
placements of the yarns observed in the specimen, and also 
in Fig. 339a. By omitting dents between the whip yarns in 
the respective hues of effect, the elongated perforations in the 
fabric are exaggerated. The binding of the doup ends, where 
crossing, sUghtly reduces the closeness of the picks. On the 



PILE, LAPPET AND GAUZE STRUCTURES 559 



intervening picks, the gauze ends bind plain with the ends 
in the grey stripings, as will be noticed in the sectional drawing 
of the yarns in Figs. 339a. 

304. Muslin Striping with Gauze Lacing Threads. — The 
pattern in Fig. 340 is typical of the manner in which the whip- 
threads, in cross sheddings, are made to retain the shuttling 
yarns in the identical relation given to them in the weaving 



41-! 



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operation. In the specimen, the sections in plain, and also 
those in lacing, are forcibly developed by the intermediate 
sections in loose picks of weft obtained by vacant spUts in 
the reed. The method of loom mounting followed in making 
such styles is illustrated in Fig. 340a. The doup threads, 
being woven plain on the picks intervening the cross sheds 
as in Fig. 339, are in such parts of the design alternately Ufted 
by the shaft 7 and by the front doup shaft 2 through 
which they are drawn. The close character of the plain 














Fig. 340. — Gauze and Dented Striping 



V- 

5 1 








7* 


1 1 1 1 


1 1 1 1 


4 


5s r- 


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J j 1 1 



Fig. 340a. 



PILE, LAPPET AND GAUZE STRUCTVUElS 561 

stripes is caused by the warp threads in these portions of the 
pattern interlacing in pairs. The plain weave is healded on 
to four shafts in 4-end sateen order, for easing the shedding 
in weaving, and for ensuring the ready construction of a 
correctly woven piece. 

305. Sateen and Gauze Striping. — Fine striped goods are 



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s sr?'i 



'Jit 



■^ .mM, 



Fig 341. — Gauze and Dented Texture with Sateen 
Striping. 




produced, in which mercerized cotton or artificial silk threads 
form sateen Unes, as in the smartly-developed pattern in Fig. 
341. Successive lines are also combined, on this principle, 
of leno, plain and sateen effects, and also of effects obtained 
by open denting. The reeding — ^number of threads in a 
split — is made to agree with the production of an even texture. 
This example averages 60 ends per inch in the sateen, and 8 
whip and 32 standard ends per inch in stripings S. Between the 

36— (5264) 20 pp. 























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PILE, LAPPET AND GAUZE STRUCTURES 563 



crossing of the leno threads, the picks are unintersected, but 
formed in straight hnes, being held in this relation by the four 
standard threads, woven plain, and by the wrapping of the 
latter with the gauze threads. The design, as seen from Fig. 
341a, contains 30 picks in the round. Two doup shafts, D, D ^, 
and two slackeners, E^, E^, are necessary for giving the two hnes 
of gauze work. The plain ends, with which the doup threads 
wrap, are on the two back heddles F, and the sateen striping 
ends on the central shafts S. 



;!■':?'*'< 






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ill i'|iHu-H''::S:n;fe^ 





I -I ;G 'I .. ; , . , 
; ■^ ft • i ;■ j ; , 

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c c 

Fig. 342. — Gauze Checking. 




306. Checked G^ai/zes.— Checked gauzes — in which the thick 
leno threads and picks are made to give semi-circular forms 
of pattern — are produced in designs arranged on the system 
sketched in Figs. 342a and 343b, the healding draft and 
weaving plan respectively for the style in Fig. 342. Parts A 
in the draft, and also in the full looming design, yield the 
finer, and parts B in the more open, crossing details. 
Additional prominence is given to the checking hnes in this 
instance by inserting dark ends and picks into the warp and 
weft of portions C and D of the fabric, which yarns contrast 
forcibly with the small and thick light yarns making other 



564 DRESS, BLOUSE, AND COSTUME CLOTHS 

sections of the pattern. As will be observed from the healding 
draft, the whip threads in A work in pairs with the standard 
threads, but in B three whip threads intertwine with two 
stationary threads. The actual bending out of the straight 



A A 

Fig. 342a. 



B 




line of the thick picks is accentuated by the weave plan or 
by the structural interlacings marked in lEl's. While the 
method of operating the slackener or vibrator is not shown 
here, nor in Figs. 343a and B, it will be understood that such 
vibrators would be employed and are raised for the cross sheds 
in weaving the goods. 



PILE, LAPPET AND GAUZE STRUCTURES 565 



307. Extra Weft Spotted Gauze Textures. — Extra weft spot- 
ting in gauze cloths is obtained by the same designing practice 
as in ordinary makes of fabric. The lappet principle is also 
utilized for developing spotted and trellis-like figuring. The 
spotting may be swivel inserted, or woven into the pattern 
by using extra shuttling. If by the latter method, the loose 




liiiiiMlP 






;H'''3irfl>^wi.i|l|ir::vi|Mli*:Til|^ 



Fig. 343. 



-Extra-weft Spotted Gauze 
Cloth. 



shots on the back of the fabric would be removed after the 
weaving. The full design, with the extra spotting picks 
inserted, is given for the specimen in Fig. 343, at Fig. 343a, 
but, as is obvious from the healding draft, Fig. 343b, the pattern 
is weavable on seventeen shafts. Two doup heddles are used, 
namely, one for the whip thread wi'apping round the six 
ends interlacing plain, and the other for the whip threads 
forming the gauze effect with the ends on shafts eight, nine, 



566 DRESS, BLOUSE, AND COSTUME CLOTHS 

twelve, thirteen, sixteen, and seventeen. Sections A should be 
repeated twice on both sides of section B. The thick douping 
threads are 3/20's cotton. The rest of the yarns are 2/40's, 
with 66 threads and shots per inch. The extra picks are 




Fig. 343a. 



marked in I's, and float under the threads of warp when not 
producing the spotting, or to the extent indicated ia the 
plan in which the marks represent threads depressed. 

308. Warp Figuring in Gauze Patterns. — Figuring in special 
warp yamS; in both dobbie and harness mountings, is done 



>w 



_l_i_ 



CO 
CO 

6 















CV<N( 



568 DRESS, BLOUSE, AND COSTUME CLOTHS 

in striped gauze cloths. It is a designing practice which 
consists in combining two or several systems of fabric con- 
struction. Each species of pattern forming the different lines 
in the style may be a distinct make of texture. Considering, 
for example, the specimen in Fig. 344, it is composed of plain, 
warp-figured and gauze elements, with each element specially 



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Fig. 344. — Warp-figured Gauze Stripe. 



set in the reed. Sections A have 16 threads per Jin., and 
sections B 32 ends, while sections C are produced by having 
four ends in one dent, two dents vacant and four ends in the 
fourth dent. The gauze threads interlace as sketched at 
Fig. 344a, wrapping with three plain lacing ends. The 
figured features are developed in extra warp yarns on a plain 
ground, or on the system given in Fig. 344b. For weaving 
the pattern, 20 shafts would be employed for striping B, 



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36a— (5264) 



B 

Fig. 344b. 



570 DRESS, BLOUSE, AND COSTUME CLOTHS 

or for actuating the figured warp, two shafts for the plain 
ground or stripings A, and two doup shafts with two vibrator 
bars for striping C. 

In more decorative designs, harness mountings are used 







Fig. 345. — Gauze Figured Design for Harness Mounting. 



for the figured portions, with shafts for the leno or gauze, 
Hfted by special wires in the Jacquard machine, but depressed 
by springs, weights or under-motions. 

309. Harness Designs in Gauze Fabrics. — Gauzes of the 
brocade variety are woven in Jacquard looms. One portion 
of the harness is worked in the ordinary manner, and a second 



PILE, LAPPET AND GAUZE STRUCTURES 571 

or front portion of the harness carries the shp mails, providing 
for warp dra wing-in being done thus — 

Thread 1 through mail 1 of the back portion and also through mail 1 of 









the slip or front portion of the harness. 


Thread 2 


55 


55 


2 of the back portion of the harness. 


Thread 3 


55 


55 


" 55 55 55 55 55 55 55 


Thread 4 


" 


55 


4 55 55 55 55 55 55 55 

and also through mail 2 of the sliiJ on 
front portion. 


Thread 5 


55 


55 


5 of the back portion of the harness. 


Thread 6 


55 


55 


" 55 55 55 55 55 55 55 



This groups the cross wires in the machine in regular order — 
1, 2, 3, 4, 5, and 6. Six wires control four warp threads, which 
implies that they hft and lower both the stationary and doup 
harness cords, and may be arranged on point paper as in the 
simple form of design in Fig. 345. The drafting of the pattern, 
as far as the figured elements are concerned, may, therefore, 
be effected as in preparing plans for a straight harness mount- 
ing. The example has the spotting woven in warp and weft 
effect surrounded with bands of plain, while the ground is in 
leno, due to the shp threads rising on the two sides of the 
stationary yarns when hfted by the back and front portions 
of the harness respectively. In producing the figured portions 
of the designs, the shp harness remains inoperative. 

The tensioning of the doup threads, in such harness weaving, 
may be done by passing them through mails weighted by 
hngos and arranged in a supplementary comber -board, fixed 
in the rear of the harness, or by means of vibrator bars. 
Harness gauze weaving is also practised in combination with 
pile and various types of wavp and weft ornamentation, in 
which compomid systems of warping, shutthng, and of loom 
mounting, are applied. For the dress trade, figured-gauze 
work is mainly confined to the fighter builds of cloth, more 
especiaUy as composed of silk, cotton, and admixtures of silk 
and cotton yarns. 



INDEX 



See also Contents, Illustrations, and Tables 
[Pages ix, xiii, and xxiv) 



Admixed yarn types, 32 

Alpaca yarns, 58 

" All-over " design schemes, 409 

■ patterns, spotted, 413 

in double-make cloths, 434 

Angled-twill stripes, 247 

Antique decorative patterns, size of, 

455 
Art and technique, 14 
Art, Decorative, 441 
Artificial silk, nature of, 112 
; history and production of, 

115 
■ — - — — ■ — , basis material of, 117 

, Chardonnet process, 117 

■ — — , Cuprammonium process, 

118 

— — • , Viscose process, 119 

, Acetate process, 1 20 

■ — — , qualities of, 121 

, tests for, 122 

• , textile values of, 123 

, specimens of, 114 

■ ^, dyeing, 128 

• • , sizing, 129 

, winding, 131 

■ ■ , spooling, 132 

• ■ , twisting, 132 

, weaving, 134 

■ • — — fabric, defects in, 135 

, "Fibro," 135 

■ — ■ — ■■ , continental, 136 

Astrakhan, warp principle of making, 

613 
, weft principle of making, 524 



Balanced twills, 191 

Bedford cords, 206 

Bi-fibred yarn patterns, 31 

Blotched type of design, 415 

Board of Trade, 40 

Botany yarns, 52, 60 

Brocades, 15 

Brilliantines, 4 

British centres of the dress industry, 

43 
Buckled yarns, 77 
Build of fabric, 178 



Camelhair yarns, 58 
Canvas cloth, 182 
Carded cotton yarns, 176 
Cashmere yarns, 58 

shawl designs, 449 

Cassimere twill, derivatives of, 186 
Cellular cloth, 553 
Centres of the dress industry, 43 
Circular and geometric forms of 

pattern, 362 
Check patterns on two shafts, 256 
Checked bases, development of, 324 

, motives for, 311 

in multi-weave compounds 



326 



534 

— s 
316 



gauzes, 563 

grounds in pile-woven textures, 
i 
styles with plain-make grounds. 



Checking in diagonal weaves, 327 
■ — - — ■ in open-weave structures, 329 

in three -weave units, 319 

Checkings, construction of, 324 
■ , shaded, 6 

Chiffon, 84 

— — gavize, 85 

Chinese and Japanese design, 446 

Circular pattern forms, 362 

Circiunferential area of yarns, 60 

Clea.ning silk yarns, 108 

Cloth {see also Fabric), waved and 

frise-siirfaced, 22 

, curled, 26, 513 

■ , rippled, 216 

• • variation and loom setting, 183 

aoths, costume, 182, 251 

■ • made of English and French 

worsted yarns, 147 

, soft-finished, 146 

Cocoons, classification of, 107 
Colour, application of, 8 

contrasts in cotton, silk, wors- 
ted, etc., 169 

■ schemes in compound weaves, 

436 

technique, 165 

Coloured effects, yam diameters and, 
165 



573 



574 



INDEX 



Coloured effects, in plain cloths, 183 
■ — — silks, plain woven, 166 
Colouring, spotted types, 418 
Colourization practices, 29 
Combed cotton yarns, 176 
Commercial stability, 34 
• — — yarn counts, 53 
Compound twills, 209 

weave figuring, 480 

spotting, 431 

Conventionalized principles of design, 

452 
Cord and repp weaves, examples in, 

207 
— — checkings, colouring of, 321 
Cords, 4 

and cord twills, 203 

, Bedford, 206 

, velveteen, 512 

— — , fustian, Genoa, etc., 513 

Corduroy, 206 

Corkscrew weaves, warp-face (Table 

X), 191-193 
— , weft-face (Table X), 191- 

193 

and gimp yarns, 77 

Costume cloths, 4 

, botany and cross-bred, 182 

• , woollen and union, 183 

■ — -— , Cheviot, drafted styles, 251 

, botany, drafted styles, 256 

— - — — — -, tweed, union, and wors- 
ted, 400 
Cotton and silk m\alti-ply fabrics, 12 

• , piece-dyed patterns in, 33 

textures, 182 

.coloured, in the plain 

weave, 165 

, gauzes, 548 

, lappets, 535 

■ — ■ — , velveteens, 509 

— — ; zephyrs, 284, 387 

• — • — yarns and cloth qualities, 47 
-, comparison of, 176 



Crepe de chine, 84, 181 

effects, 199 

— — weaves, 202 

Crepon surface, pile-figuring on, 531 

Crepes, 4, 85 

Crimps, 182 

Cross-bred yarns, 53 

Cross colouring, 391 

■ — — ■ weaving, 19, 548 

Cuprammonium proces?, artificial 

silk, 117 
Curl cloths, 25 
Curled yarns, 77 
Curliness in ordinary makes of fabric, 

516 



Curls, 513 

Cut or velvet pile, 522, 534 

Cut- weave checks, 310 

Curved forms, geometric principles in, 

409 
Curvilinear types of pattern, spotted, 

407 

Damask structures, 313 
Decorative details in textile design, 

370 
ornament, 441 

styles in spottings, 382 

Delaines, 4, 183 

Dented effects, 222, 282 

and gauze striping, 560 

Design bases, 307 

, diamond, 347 

■ — ■ — ■ , figured, 450 

■ , geometric, 340 

, Indian, 449 

■ — — — ■ — ; lozenge, 354 

, mosaic and spotted, 371 

■■ ; Oriental, 446 

, Sicilian, Genoese, etc., 442 

- — — - sketches, transference on to 

point paper, 456, 461 
Diagonals, 200 

, checked in colour, 209 

, examples in, 201, 203 

Diamond checkings, 312 

effects in checked types, 313, 

316 

structure of pattern, 347 

twist yarns, 77 

■ — — type of figuring, 349 

■ weaves, 218 

Diaper patterns, 313 

• weaves, 217 

Diaphanes, 85 
Dice effects, 212 
Differentiations in yams, 59 
Drafted Patterns : Stripes, 247 
Drafted -^^ twill patterns, 248 

3^^- twill patterns, 251 

" All-over " patterns, 410 

checking, 314 

harness figured designs, 461 

• waved designs, 411 

Dress fabrics, fancy yarns in, 78 

— — ; groups of, 4 

, piece -dyed fancy, 30 

Dress fabric industry, standardiza- 
tion in, 38 

manufacture, 2, 43 

Dress goods, double and compoun4 
cloths in, 12 

Dressers' strick, 98 

Press trade, I 



INDEX 



575 



Dress trade, manufacturing practices 

in, 2 
Duplicated compound diamond struc- 

tm-e, 353 

Eastern trade, 40 

Economic changes, influence of, 36 

Eight-shaft weaves, 235 

Elongated diagonals, examples in, 200 

twills, 197 

Embossing, 26 

Embroidery, 27 

English worsted yarn, 56 

Extended rhomboid jjatterns, 335 

Extra-yarn figuring, 476 

warp spotting, 416 

-weft spotting, 423 

Fabeic build, systems of, 178 

-— — construction, yarn vmit in, 153 

features and silk threads, 140 

perforated in structure, 554 

— — structure, 11 

thiclcness and yarn counts, 157 

Fabrics, astrakhan, 513 

, curl, 516 

• — ■ — , gauze, 19, 548 

, lambskin, 519 

, lappet, 20, 535 

, velvet, 18, 85, 522 

, velveteen, 509 

, waved-surface, 22 

Factory production, 36 
Fancy checking iii cord and twill 
weaves, 328 

yarns, 72 

twists, 74 

Fashion, 35 

Fibro in artificial silk, 134 
Fibrous materials, 9 

■ yarns, 146 

Fibrovis-finished cloths, 25 
Fifteen-shaft weaves, 243 
Figured cloths, weft principle, 14 
• — — ■ fabrics, structiiral types of, 465 

in compound weaves, 488 

■ pile fabrics, varieties of, 527 

reversibles, 484, 487 

velvet production, 16 

Figuring in spotted minutiae, 381 
, multi-weft, 13, 423 

, multi-warp, 421 

■ , gauze, 670 

, lappet, 545 

, terry-pile, 529 

- — ■ — , velvet-pile, 534 

Filament length, 57 

Fine-set sUk textures, 489 [58 

Fineness of fibre ^nd yarn stryctiire, 



Finishes for artificial silk, 129 
Flake yarns, 77 
Flannelettes, 182 
Floated-weft spotting, 391 
Floral patterns, shading in, 504 
Florentine textile ornament, 442 
Folded yarns and twine insertion, 68 

, types of, 69 

" Foody " yarns, 148 
Foreign trade, 39 
Foulards, 85, 381 
Fourteen -shaft weaves, 242 
Frame-siDun yans, 157, 176 
French fashions, 40 

silks, 16 

worsted yarn, 56 

Frises, 25, 507 

Gabardines, 4 

Gabardine or Venetian twills, 192 
Gassed cotton yams, 176 
Gassing silk yarns, 107 
Gauze, cellular cloths, 553 

, checked, 563 

— — , dented effects in, 560 

, extra-weft spotted, 565 

, harness designs in, 570 

— - — -, healding practices for, 549 

, netted effects in, 558 

, open structure of, 557 

, principles of intertexture, 548 

, sateen striping in, 561 

, warp-figured, 566 

Geometric Design Bases — Weave 
Compounds, 305 

and floral styles of ornament, 

442 

forms, intersecting, 339 

— — patterns in four-shaft weaves, 

358 
— in cord and twill weaves, 

359 

structure of weave plans, 305 

Genoa decorative textures, 444 

cords, 513 

Gimp yarns, 76 

Gimped and waved lappet patterns, 

545 
Glacis, 4 

Granite twills, 191-193 
Gros de Tours, 84 

de Naples, 84 

royale, 84 

Group classes of simple weaves, 181 

Hard or firm spun or twisted cotton 

yarns, 177 
Harness, drafted, 461 
■ — ■ — , gauze, 571 
Heilnaan's cornb for wftste silk, 99 



576 



INDEX 



Home trade in dress goods, 34 
Honeycomb textures, 223 
■ — — weaves, 225 

Huckaback textures and weaves, 
224-226 

Indian loomwork, 449 

Industrial and Commercial As- 
pects, 1 

■ — ^ — transitions, 35 

Intelligence, Board of Trade, 40 

Interchangeable compound weave 
structures, 437 

Interlaced textiu-al effects, 22 

Interlacing figured types, 339 

Intersecting diagonals, 342 

geometric patterns, 344 

■ spotted patterns, 343 

■ ■ types of design, 341 

Inverted geometric style, 361 
Irish poplins, 85 
Irregular mat checks, 307 
■ — — • twist yarns, 78 

Jacquard harness, drafted, 571 

, gauze, 461 

Japanese loomwork, 446 

spotted styles, 371 

Key pattern in striping, 291 

in rhomboidal design, 335 

Knop yarns, 76 

in cotton blouse texture, 

79 

in tweed costumes, 80 

Knubbs, silk waste, 92 

Lace stripings, 299 

-woven structures, 21 

Lambskins, 519 

Lappet and swivel-woven styles, 545 

-design features, 536 

designs, gimped and waved 

with gauze details, 545, 547 

fabrics, 21 

patterns in light textures, 537 

weaving, 535 

, frames used in, 536-541 

, single -frame patterns, 542 

■ , multi-frame patterns, 543 

Leno fabrics, 20, 548 

Line checking, 307 

, duplicated, 309 

spotting on twill grounds, 399 

• — — striping, 273 

Linen styles, plain woven, 167, 170 

textures, types of, 150 

— -— yarns, 48 

, clearness of cloth in, 143 



Linens, 182 
Linings, 4 

Loom mechanism and weave con- 
struction, 179 

-mountmg for figured velvets, 18 

-setting, principles of, 154, 183 

Looped yarns, 77 
Lozenge designs, 354 

■ weaves, 217 

Lustre in silk yarns, 108 

■ — — stripes, 284 

Lustres, types of, 4 

, weft-spotted patterns, 385 

Manufacturing technology, 23 

Markets, 41 

Marquisette, 84 

Material and texture in decorative 

design, 455 
Mat stripes, 264 
Matelasse design principles, 492 

designs with ribbed ground, 494 

• with cord or pique ground, 

495 
Mats, construction of, 184 

, twilled, 230 

Metallic threads, 63 
Minute checkings, 310 
Mock lenos, 221 

■ — — , examples in, 223 

, systems of reading of, 222 

Mohair yarns, 58 

Moires, francais, faconne, onde, tab- 

isse, etc., 84 
Moisture in artificial silk, 129 
Mottled ground weaves, 403 
Mosaic patterns, 384 

■ — — ■ ■ • in several weave miits, 393 

, curvilinear and other types 

of, 405 

spottings in warp and weft 

effects, 401 

Mousseline, 84 

Muslin stripings with gauze-lacing 

threads, 559 
Muslins, 4, 182 

Nappe of waste silk, 100 
Natiu-al- colour goods, 30 
Net or interlaced figuring, 339 
■ or lace surface effects, 299 

or veil tissue, 24 

striping, 303 

Nine-shaft weaves, 236 
Ninon, 84 

Oblique twills (Table X), 191-193 
Ondule effects, 22 

reeds, 22 



INDEX 



511 



Open-weave structures {see also 

Honeycombs), 246 
in checked patterns, 329— 

331 
Ornament, decorative, in textiles, 496 
Oriental loomwork, 446 
Orleans lustre fabrics, 4 

Pattern contrasts due to yarn 
structure, 169 

" repeat " in figured designing, 

454 

scale, 457 

types in different colour arrange- 
ments, 430 

Piece-dyed textures, varieties of, 30 
Pile, Lappet, and Gauze Struc- 
tures, 507 
Pile or plush manufactures, 507 

, cord cloths in weft, 512 

, printed warp, 527 

, terry, 522 

, velvet, 522 

, velveteen, 509 

length and quality, 508 

looming and weaving, 508 

weaving, warp tensioning in, 526 

weaves (warp), 523, 525 

(weft), 510, 512 

■ (figured), 531, 535 

(lambskin), 520 

(plush, curl, astrakhan, 

etc.), 515 
Pine figuring, 477 
Pique cord, 495 
Plain weave in cotton, linen, silk, 

worsted, and woollen cloths, 181 

■ weave, derivatives of, 184 

, settings for, 1 60 

Point paper plans and designs, 232, 

378 
Poplms, 4 

, Irish, 85 

Practice in Figure Designing, 441 

in warp and weft setting and 

yarn cotmts, 159 

Preparation of lappet designs, 542 
Principles of ornament, 441 
Printed designs, 27, 380 
Punjam books, waste silk prepara- 
tion, 92 

Rectangular design base, 307 

Reeds, ondule, 22 

Reeling, silk, 89 

Repp or cord stripes, 261 

- — — checking, 320 

and cord weaves, examples in, 

207 



Repps, 4 

Reversible figuring, 484, 487 
Rhomboidal plan base, 332 
Ribbed grounds, spotted, 397 

twills and corkscrews, 191 

velveteens, 512 

Ribbon form of pattern, 414 

Sarcenet, 84 

Sateen and gauze striping, 56 

■ — — figuring, 472 

pattern origination, 468 

Sateens, arrangement of, 226 

■ — ■ — -, examples in, 227 

Satins, 9, 84, 471 

, figured and fine-set, 473 

■ — — •, weft ornamented, 47 1 

Schappe silk, 94 

Scroll patterns, 413 

Self -actor spun yarns, 151 

Serge twills, 188 

Seri-culture, 87 

Seven-shaft weaves, examples in, 234 

Shaded designs, 499 

, scale of intersections in, 

501 

— — - checkings, 7 

Saxony and Cheviot yarns, 151 

Shipping trade in dress goods, 39 

Sicilian textile ornament, 442 

Silk, Thrown, Spun, and Arti- 
ficial, 81 

and silk waste, supplies of, 86 

- filaments, 81, 88 

lustre, 83 

industry, 84 

— ■ — , historic data, 83 

, gum discharge of, 93 

-, boiling off process, 93 
-, Schappe process, 94 

— reeling, 89 

winding, doubling, and throw- 
ing, 91 

— , Tussur, 92 

— yarn and fabric features, 140 

,49 

, thrown and spim, 93 

spun, and artificial, 



110 



textures, fine-set, 489 
waste," 93 
-, conditioning, filling, dress- 



ing, and combing, 95 

, flat dressing machine, 99 

-, spreading and lap -making 



machine, 100 

— , drawing operations, 102 

, roving and spinning, 104 

noil, 97 



578 



INDEX 



Silk " waste," drafting, 99 

, " nappe " of, 100 

, " strick " of, 99 

Silks of different countries. 86 
Simple weaves, group classes of, 181 
Single-frame lappet patterns, 542 
Sixteen-shaft weaves, 245 
Sizing (art. silk), 129 
Slub-twist yarns, 78 
Soft or fibrous -finished cloths, 146 
Soliels, 84 

Spooling (art. sUk), 131 
Spotted and Mosaic Patterns, 370 
designs, point paper prepara- 
tion of, 378 

ground patterns, 378 

patterns in double-make tex- 
tures, 431 

in reversible textures, 436 

■ — — •, straight-line types of, 372 

, silk weft in, 385 

, weaving principles in, 383 

, zephyr variety of, 388 

— — - type with warp cord ground, 364 
Spotting, structural design principles, 
371 

, circular variety of, 374 

, line and circiilar variety of, 376 

, rosette, line, and diamond, 377 

in the weft yarn, 387 

— — in both warp and weft yarns, 

398, 404 
— — ■ in extra yarns, 426 
in backing threads and picks, 

439 

in weft plushes, 517 

Standardization and dress fabric 

maniafacturing, 38 
Star checks, 323 

spotting, 390 

Staple measurement and yarn struc- 
ture, 58 
Stockingette weaves, 189 
Storage (art. silk), 130 
Stripes, 264 [266 

, combination of weave units in, 

, formation of, 269 

, figured, 296 

, lace, 299 

, line variety of, 293 

, mat or hopsack, 264 

, net effects in, 303 

, plain make in, 281 

, spotted and dented, 282 

, warp and weft effects in, 285 

, zephyr, 284 

in twills of different angles, 273 

in reversed weave structures, 

294 



Stripings, coloured, 6 
Style, changes in, 37 
Surah silk texture, 84 
Swivel and lappet effects, 536 

Tabisse silk texture, 84 
Taffeta, 84 

Ten-shaft weaves, 237 
Terry pHe, 522 

• — — figuring, 529 

Textural qualiiies in cotton yarns, 47 

- — ■ — in linen yarns, 48 

■ in silk yarns, 49 

in woollen, worsted, al- 
paca, etc., yarns, 49 
The Yarn Unit, 46 
The Yarn Unit Applied, 178 
Thread counts, 157 

races in weft-pile cloths, 509 

Three-colour yarns, 78 

-fold yarns, 71 

-shaft weave patterns, 241 

Thrown silk, 81 

, specimens of, 110 

Tinctorial practices, 29 

Transference of pattern sketches on 
to point paper, 456, 459 

Transposed and checked design base, 
361 

■ — — ■ patterns in single and com- 
poimd cloths, 336 

— - — ■ weaves, 221 

Transposition design base, 334 

Twelve-shaft weaves, 240 

Twill derivatives, construction of, 195 

, sateen drafts for, 197 

■ — ■ — , range of, 3.94 

Twilled cord and mat stripes, 263 

— ■ — - weaves, 191 

Twills, elongated, 197 

— — •, corkscrew, granite, obliqiie, up- 
right, 191-193 

■ — ■ — -, Venetian or gabardine, whip 
cord, etc., 191-193 

Twisting (art. silk), 132 

Two-shaft weave patterns, 255 

Two-and-two twill, settings for, 160 

Upright or elongated twills, ex- 
amples in, 197 

■ ■ diagonals, 200, 201 

Utrecht velvet, 85 

Union costume cloths, 183 

dress textures, 456 

Varieties of " natural," " waste," 

and " wild " silks, 93 
Veil tissue, gimp yarn in, 24 
Velours, chiffon, sabre, 85 



INDEX 



579 



Velvet, 85, 522 

pile figuring, 534 

Velveteens, 509 
Velveteen cords, 512 
Venetian twill, 191 

Viscose process (art. silk), 119 
Voile yarns, 176 
Voiles, 182 

Wakp and weft colouring in decora- 
tive patterns, 427 

■ — ■ — ■ cord checking, 323 

■ — ■ — - settings, 161 

— — spotting, 401 

face weaves, 232 

-pile weaves and textures, 522 

tensioning in pile weaving, 526 

Warping (art. silk), 133 

Waste sUk, production, 92 

, preparing and spinning, 

100, 103, 105 

-, specimens of yarns in, 110 



[363 



Watered silks, 85 
Wave patterns, 214 
Waved checked types, 313 
• cord checkings, 322 

figuring, 412 

twilled stripes, 247 

Weave bases, design construction on, 

classification, 180 

definition in silk yarns, 141 

effects, 214 

elements and cloth construc- 
tion, 178 

extensions, 184 

gamut and shaft mountings, 236 

units as design formulae, 305 

variation and loom mechanism, 

179 

Weaves, application of, to diamond 
patterns, 330 

on 6, 7, and 8 shafts, 239 

on 9, 10, and 11 shafts, 243 

on 12, 13, and 14 shafts, 244 

• on 15 and 16 shafts, 247 

Weaving (art. silk), 134 

Weft grounds, extra yarn spotting on, 
426 

plushes, 517 

figuring, 466 



Weft spotting, 387 

Wool fibre and thread formation, 51 

Woollen yarns, 50, 62 

styles, plain woven, 167 

Worsted styles, plain woven, 172 

- yarns, 50, 53, 60 

, English and French, 56 

Woven fabrics (art. silk), 134 

■ lace, 21 

Yakn, art. silk, 112 

counts and fabric build, table 

of, 155 

and technical practice, 159 

diameters and cloth construc- 
tion, 153 

differentiations, 59 

features, 47 

, folded, construction of, 74 

, gassed, cotton, 176 

manufactvu-e and fabric charac- 
ter, 139 

type and textural effects, 140 

, twine or twist in, 67 

unit, 23, 46 

applied, 139 

Yarns, alpaca, camelhair, cashmere, 

mohair, 58 

, botany worsted, 60 

— - — , crossbred, 53 

, counts of, wool and hair, 53 

, English and French worsted, 60 

■ -, fancy twist, 75 

, fibre fineness of, 52 

— , folded, 68 

, " foody," 148 

, frame -spun, 151 

, gimp, curl, flake, slub, etc., 77 

, linen, 47 

■ — — made of animal fibre, 49 

of mineral substances, 64 

, silk, spun sUk, art. silk, 49, 94, 

112 

, woollen and worsted, 50 

, woollen, 62 

Zephyrs and lustres, 284 

, spotted, 387 

Zig-zag diagonal plans, 341 

weaves, 215 



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Explosives, Historical Papers on Modern. G. 

W. MacDonald 9 

Explosives Industry, Rise and Progress of 

the British . . . . . . IS 

Field Manual of Survey Methods and Opera- 
tions. A. Lovat Higgins . . . . 21 

Field Work for Schools. E. H. Harrison and 

C. A. Hunter 2 

Files and Filing. Fremont and Taylor . . 21 

Fitting, Principles of. J. G. Horner . .76 

Five Figure Logarithms. W. E. Dommett . 1 6 

Flax Culture and Preparation. F. Bradbury 10 6 



s. 


d. 


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8 





5 





6 





4 





5 





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3 





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6 


9 






Fuselage Design. A. W. Judge 

Gas, Gasolene and Oil Engines. J. B. Rathbun 8 

Gas Engine Troubles and Installations. J. 

B. Rathbun 

Gas and Oil Engine Operation. J. Okill 
Gas, Oil, and Petrol Engines : including 

Suction Gas Plant and Humphrey Pumps. 

A. Garrard ....... 

Gas Supply in Principles and Practice. W. 

H. Y. Webber 

Geometry, the Elements of Practical Plane. 

P. W. Scx.tt 

Geology, Elementary. A. J. Jukes-Browne 
German Grammar for Science Students. W. 

A. Osborne ....... 3 

Graphic Statics, Elementary. J. T. Wight 
Handrailing for Geometrical Staircases. W. 

A. Scott 

Heat, Light and Sound. J. R. Ashworth . 
High Heavens, In the. Sir R. Ball. . , 

Hosiery Manufacture. W. Davis . 
Hydraulic Motors and Turbines. G. R. 

Bodmer 15 

Illuminants and Illuminating Engineering, 

Modern. Dow and Gaster . . . . 25 

Indicator Handbook. C. N. Pickworth . . 7^6 
Induction Coils. G. E. Bonney . . .60 

Induction Coil, Theory of the. E.Taylor-Jones 12 6 
Insulation of Electric Machines. H. W. 

Turner and H. M. Hobart . . . . 21 

Ionic Valve, Guide to Study of the. W. D. 

Owen 2 6 

Ironfounding Practical. J. G. Horner , . 10 

Leather Work. C. G. Leland . . . .50 

Lektrik Lighting Connections. W. Perren 

Maycock ....... 9 

Lens Work for Amateurs. H. Orford . .36 
Lightning Conductors and Lightning Guards. 

Sir O. Lodge 15 

Logarithms for Beginners. C. N. Pickworth . 1 6 
Machine Drawing, Preparatory Course to. 

P. W. Scott 2 



s. d. 

Magnetism and Electricity, An Introductory 

Course of Practical. J. R. Ash worth . 3 

Magneto and Electric Ignition. W. 

Hibbert 3 6 

Manuring Land, Tables for Measuring and 

J. Cullyer 3 

Marine Engineers, Practical Advice for. C 

W. Roberts 5 

Mathematical Tables. W. E. Dommett. . 4 6 

Mathematics, Mining (Preliminary). G, W, 

Stringfellow 2 

With Answers Do 2 6 

Mechanical Tables, Showing the Diameters 
AND Circumferences of Iron Bars, etc. 
J. Foden 2 

Mechanical Engineers' Pocket Book. Whit- 
taker's 6 

Mechanics' and Draughtsmen's Pocket Book. 

W. E. Dommett 2 6 

Metal Turning. J. G. Horner. . . .40 

Metal Work — RepoussA. C. G. Leland . .50 

Metal Work, Teacher's Handbook. J. S. Miller 4 

Metric and British Systems of Weights and 

Measures. F. M. Perkin . . . .36 

Metric Conversion Tables. W. E. Dommett . 2 6 

Milling, Modern. E. Pull . . . .90 

Mineralogy : the Characters of Minerals, 
THEIR Classification and Description . F. VL 
Hatch 6 

Motion Picture Operation, Stage Electrics 
AND Illusions. H. C. Horstmann and V. H. 
Tousley 7 6 

Motor Truck and Automobile Motors and 

Mechanism. T. H. Russell . . .80 

Motor Boats, Hydroplanes and Hydroaero- 
planes. T. H. Russell . . . .80 

Moving Loads on Railway Underbridges. H. 

Bamford 5 6 

Naval Dictionary, Italian - English and 

English - Italian. W. T. Davis. . , 10 6 

Optical Instruments, Modern, H. Orford . 4 



7 


6 


7 


6 


7 


6 


6 






*. d. 
Optics of Photography and Photographic 

Lenses. J. T. Taylor 4 

Pattern-Making, Principles of. J. G. Horner. 4 
Pipes and Tubes : their Construction and 

Jointing. P. R. Bjorling . . . .66 

Plant, Physiology Researches in. W. R. G. 

Atkins . . . . . . .90 

Plant World : its Past, Present and Futurb, 

The. G. Massee . . . . . ',. ^ 

Plywood and Glue, Manufacture and Use of 

The. B. C. Boulton . . . . 

Polyphase Currents. A, Still 
Power Wiring Diagrams. A. T. Dover 
I'RACTiCAL Electric Light Fitting. F. C. Allsop 

Practical Sheet and Plate Metal WoRk: '^■' " -'^' 

A, Atkins "■"'■' ^ if^ q 

Radio-Telegraphist's Guide and Log Book, 

W. H. Marchant . . . . . .5 6 

Railway Technical Vocabulary. L. Serraillier 7 6 

Reinforced Concrete. W. N. Twelvetrees .21 
Reinforced Concrete Beams and Columns, 

Practical Design of. W. N. Twelvetrees .' 7 « 
Reinforced Concrete Beams, Simplified 

Methods of Calculating. W. N. Twelvetrees 9 
Reinforced Concrete, Detail Design im. 

E. S. Andrews . . . . . .60 

Roses and Rose Growing. R. G. Kingsley . 7 6 

Roses, New 9 

RussLAN Weights and Measures, Tables op. 

Redvers Elder . . . . . .26 

Safe Loads on Steel Pillars, Tables of. E. S. 

Andrews . . . . . . .60 

Slide Rule. A. L. Higgins . . ! ! 6 

Slide Rule. C. N. Pickworth . . . .36 

Soil, Science of the. C. Warrell . . .36 
Starry Realms, In. Sir R. Ball . . . 10 6 
Storage Battery Practice. R. Rankin . .76 
Steam Turbo- Alternator, The. L. C, Grant .15 
Steel Works Analysis. J. O. Arnold and F. 

Ibbotson . . . , . . . 12 6 



5. d. 

SiREssEs IN Hooks and Other Curved Beams. 

E. S. Andrews . . . . . .60 

Submarine Vessels, etc, W. E. Dommett . 5 
Surveying and Surveying Instruments. G. A. 

T. Middleton . .' . . . ,60 

Surveying, Tutorial Land and Mine. T. Bryson 10 6 
Technical Dictionary, International. E. 

Webber 15 

Telegraphy : an Exposition of the Telegraph 

System of the British Post Office. T. E. 

Herbert 18 

Telegraphy, Elementary. H. VV. Pendry . 7 6 
Telephone Handbook and Guide to the 

Telephonic Exchange, Practical. J. Poole 15 
Textile Calculations. G. H. Whitwam . . 25 
Transformers for Single and Multiphase 

Currents. G. Kapp . • ^ • . 12 6 

Trigonometry for Engineers, Primer of. W. G. 

Dunkley 5 

Triplane and the Stable Biplane. J. C, 

Hunsaker . . . . . . ,30 

Turret Lathe Tools, How to Lay Out . 6 

Union Textile Fabrication. R. Beaumont .21 
Ventilation of Electrical Machinery. W. H. 

F. Murdoch 3 6 

Ventilation, Pumping, and Haulage, The 

Mathematics of. F. Birks . . . .50 

Volumetric Analysis. J. B. Coppock . .36 
V^ATER Mains, The Lay-Out of Small. H. H. 

HelUns 7 6 

Wireless Telegraphy and Hertzian Waves. 

S. R. Bottone 3 6 

Wireless Telegraphy : a Practical Handbook 

FOR Operators and Students. W. H. 

Marchant . . . . . . .76 

Wood-Block Printing. F. Morley Fletcher . 8 6 
Woodcarving. C. G. Leland . . . .50 

Woodwork, Manual Instruction. S. Barter . 7 6 
Catalogue of Scientific and Technical Books post free. 

LONDON : SIR ISAAC PITMAN & SONS. LTD. 
PARKER STREET. KINGSWAY. W.C.2 



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